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[SOURCE: https://en.wikipedia.org/wiki/Apax_Partners] | [TOKENS: 875] |
Contents Apax Partners Apax Partners LLP is a British private equity firm, headquartered in London, England. The company also operates out of six other offices in New York, Hong Kong, Mumbai, Tel Aviv, Munich and Shanghai. As of March 2024, the firm had raised and advised funds of approximately US$77 billion. Apax Partners is one of the oldest and largest private equity firms operating on an international basis. Apax invests across three sectors: technology, internet/consumer and services. It looks for investments in a target Enterprise Value of $100–5,000 million. Apax raises capital for its investment funds through institutional investors including corporate and public pension funds, university and college endowments, foundations and fund of funds. History In 1972, Ronald Mourad Cohen and Maurice Tchénio founded the advisory firm Multinational Management Group (MMG) in London, Paris, and Chicago, marking the beginning of Apax Partners. In 1977, they formed a partnership with early venture capitalist Alan Patricof, who founded Patricof & Co in New York in 1969. The new firm would be known as Alan Patricof Associates (APA) and ultimately come to be known as Apax Partners (apax means "unique" in classical Greek). Throughout the 1980s, the firm grew steadily raising capital under a series of separate funds. In 1991, Apax Partners became the official name for all of its European operations however the U.S. business still operated under the Patricof & Co. name. By the mid-1990s Apax had become one of the larger private equity firms globally. In 2001, Patricof & Co. adopted the Apax Partners branding and formalized its affiliation with its European business. In 2002, Apax Partners LLP was established. In 2005, Apax announced it would acquire middle market leveraged buyout firm Saunders Karp & Megrue to augment its buyout business in the United States. In March 2006, Alan Patricof left Apax. In 2006, Apax Partners in London and Apax Partners France in Paris became independent. Apax Partners France rebranded to Seven2 in 2023. Investments Investment funds Criticism The circumstances surrounding the demerger, transfer of assets and subsequent collapse of the British United Shoe Machinery in 2000 led to questions about Apax's behaviour being raised in Parliament by MPs of both main parties. After calls for an enquiry into the loss of hundreds of pensions were refused, Ros Altmann, the pensions expert and, as of 2015, UK Pensions minister described it "one of the worst cases ..I have seen ..the actions of the former owners – Apax have been immoral." The Member of Parliament Ashok Kumar said, "I think these people needed flogging ..these are greedy, selfish, capitalists who live on the backs of others." Following its sale of Wind Hellas in 2007, Apax and Hellas co-owner TPG were sued by former bondholders of the telecom company, who allege that Apax and TPG unjustifiably enriched themselves from Hellas and misrepresented the true state of its accounts. Apax has countered that some of these bondholders only began their dispute after passing up on the chance of selling prior to the bankruptcy of 2009, and that Apax sold the business in 2007 (almost three years before the bankruptcy) and so was not the legal owner of Hellas during the periods cited in some of the lawsuits. (In 2005 a New York judge awarded $56 million to some of these bondholders, made against Hellas Telecommunications Finance and Hellas Finance, rather than Apax or TPG). Other lawsuits related to Apax and TPG's ownership of Hellas are being heard in the United States. In December 2015 a separate legal action brought by the liquidators of Hellas Telecommunications was dismissed by a Luxembourg court. In February 2018 the liquidators abandoned their UK case against Apax and TPG after four days of trial. Notable persons See also References External links How I rode the rising wave of private equity." The Sunday Times, November 4, 2007 |
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[SOURCE: https://en.wikipedia.org/wiki/Italian_Renaissance] | [TOKENS: 10940] |
Contents Italian Renaissance Timeline The Italian Renaissance (Italian: Rinascimento [rinaʃʃiˈmento]) is a period in Italian history during the 14th and 16th centuries. The period and place are known for the initial development of the broader Renaissance culture that spread from Italy to the rest of Europe (and also to extra-European territories ruled by colonial powers or where Christian missionaries and/or traders were active). The period was one of transition: it sits between the Middle Ages and the modern era. Proponents of a "long Renaissance" argue that it started around the year 1300 and lasted until about 1600. In some fields, a Proto-Renaissance, beginning around 1250, is typically accepted. The French word renaissance (corresponding to rinascimento in Italian) means 'rebirth', and defines the period as one of cultural revival and renewed interest in classical antiquity after the centuries during what Renaissance humanists labelled as the "Dark Ages". The Italian Renaissance historian Giorgio Vasari used the term rinascita ('rebirth') in his Lives of the Most Excellent Painters, Sculptors, and Architects in 1550, but the concept became widespread only in the 19th century, after the work of scholars such as Jules Michelet and Jacob Burckhardt. The Renaissance began in Tuscany in Central Italy and centered in the city of Florence. The Florentine Republic, one of the several city-states of the peninsula, rose to economic and political prominence by providing credit to European monarchs and by laying the groundwork for developments in capitalism and banking. Renaissance culture later spread to Venice, the heart of a Mediterranean empire controlling trade routes with the east since its participation in the Crusades and following the journeys of Marco Polo between 1271 and 1295. Thus Italy renewed contact with the remains of ancient Greek culture, which provided humanist scholars with new texts. Finally the Renaissance had a significant effect on the Papal States and on Rome, largely rebuilt by humanist and Renaissance popes, such as Julius II and Leo X, who frequently became involved in Italian politics, in arbitrating disputes between competing colonial powers and in opposing the Protestant Reformation, which started c. 1517. The Italian Renaissance has a reputation for its achievements in painting, architecture, sculpture, literature, music, philosophy, science, technology, and exploration. Italy became the recognized European leader in all these areas by the late 15th century, during the era of the Peace of Lodi (1454–1494) agreed between Italian states. The Italian Renaissance peaked in the mid-16th century as domestic disputes and foreign invasions plunged the region into the turmoil of the Italian Wars (1494–1559). However, the ideas and ideals of the Italian Renaissance spread into the rest of Europe, setting off the Northern Renaissance from the late 15th century. Italian explorers from the maritime republics served under the auspices of European monarchs, ushering in the Age of Discovery. The most famous voyage was that of Christopher Columbus (who sailed for Spain) and laid the foundation for European dominance of the Americas. Other explorers include Giovanni da Verrazzano (for France), Amerigo Vespucci (for Spain), and John Cabot (for England). Italian scientists such as Falloppio, Tartaglia, Galileo and Torricelli played key roles in the Scientific Revolution, and foreigners such as Copernicus and Vesalius worked in Italian universities. Historiographers have proposed various events and dates of the 17th century, such as the conclusion of the European wars of religion in 1648, as marking the end of the Renaissance. Accounts of Proto-Renaissance literature usually begin with the three great Italian writers of the 14th century: Dante Alighieri (Divine Comedy), Petrarch (Canzoniere), and Boccaccio (Decameron). Famous vernacular poets of the Renaissance include the epic authors Luigi Pulci (Morgante), Matteo Maria Boiardo (Orlando Innamorato), Ludovico Ariosto (Orlando Furioso), and Torquato Tasso (Jerusalem Delivered). 15th-century writers such as the poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both Latin and Greek. In the early 16th century, Baldassare Castiglione laid out his vision of the ideal gentleman and lady in The Book of the Courtier, while Niccolò Machiavelli rejected the ideal with an eye on la verità effettuale della cosa ('the effectual truth of things') in The Prince, composed, in humanistic style, chiefly of parallel ancient and modern examples of virtù. Historians of the period include Machiavelli himself, his friend and critic Francesco Guicciardini and Giovanni Botero (The Reason of State). The Aldine Press, founded in 1494 by the printer Aldo Manuzio, active in Venice, developed Italic type and pocket editions that one could carry in one's pocket; it became the first to publish printed editions of books in Ancient Greek. Venice also became the birthplace of the commedia dell'arte. Italian Renaissance art exercised a dominant influence on subsequent European painting and sculpture for centuries afterwards, with artists such as Leonardo da Vinci, Michelangelo, Raphael, Donatello, Giotto, Masaccio, Fra Angelico, Piero della Francesca, Domenico Ghirlandaio, Perugino, Botticelli, and Titian. Italian Renaissance architecture had a similar Europe-wide impact, as practised by Brunelleschi, Leon Battista Alberti, Andrea Palladio, and Bramante. Their works include the Florence Cathedral, St. Peter's Basilica in Rome, and the Tempio Malatestiano in Rimini, as well as several private residences. The musical era of the Italian Renaissance featured composers such as Giovanni Pierluigi da Palestrina, the Roman School and later the Venetian School, and the birth of opera through figures like Claudio Monteverdi in Florence. In philosophy, thinkers such as Galileo, Machiavelli, Giordano Bruno and Pico della Mirandola emphasized naturalism and humanism, thus rejecting dogma and scholasticism. Origins and background By the Late Middle Ages (c. 1300 onward), Latium, the former heartland of the Roman Empire, and southern Italy were generally poorer than the North. Rome was a city of ancient ruins, and the Papal States were loosely administered and vulnerable to external interference, particularly by France, and later Spain. The Papacy was affronted when the Avignon Papacy was created in southern France as a consequence of pressure from King Philip the Fair of France. In the south, Sicily had for some time been under foreign domination, by the Arabs and then the Normans. Sicily had prospered for 150 years during the Emirate of Sicily and later for two centuries during the Norman Kingdom and the Hohenstaufen Kingdom, but had declined by the Late Middle Ages. In contrast, Northern and Central Italy had become far more prosperous, and it has been calculated that the region was among the richest in Europe. The Crusades had built trade links to the Levant, and the Fourth Crusade had done much to destroy the Byzantine Empire as a commercial rival to the Venetians and the Genoese. The main trade routes from the east passed through the Byzantine Empire or the Arab lands and onward to the ports of Genoa, Pisa, and Venice. Luxury goods bought in the Levant, such as spices, dyes, and silks were imported to Italy and then resold throughout Europe. Moreover, the inland city-states profited from the rich agricultural land of the Po Valley. From France, Germany, and the Low Countries, through the medium of the Champagne fairs, land and river trade routes brought goods such as wool, wheat, and precious metals into the region. The extensive trade, which stretched from Egypt to the Baltic, generated substantial surpluses that allowed significant investment in mining and agriculture. By the 14th century, the city of Venice had become an emporium for lands as far as Cyprus; it boasted a naval fleet of over 5000 ships thanks to its arsenal, a vast complex of shipyards that was the first European facility to mass-produce commercial and military vessels. Genoa also had become a maritime power. Thus, while northern Italy was not richer in resources than many other parts of Europe, the level of development, stimulated by trade, allowed it to prosper. Florence became one of the wealthiest of the cities of Northern Italy, mainly due to its woolen textile production, developed under the supervision of its dominant trade guild, the Arte della Lana. Wool was imported from Northern Europe (and in the 16th century from Spain) and together with dyes from the east were used to make high-quality textiles. The Italian trade routes that covered the Mediterranean and beyond were also major conduits of culture and knowledge. The recovery of lost Greek classics brought to Italy by refugee Byzantine scholars, who migrated during and following the Ottoman conquest of the Byzantine Empire in the 15th century, were important in sparking the new linguistic studies of the Renaissance, in newly created academies in Florence and Venice. Humanist scholars searched monastic libraries for ancient manuscripts and recovered Tacitus and other Latin authors. The rediscovery of Vitruvius meant that the architectural principles of Antiquity could be observed once more, and Renaissance artists were encouraged, in the atmosphere of humanist optimism, to excel in the achievements of the Ancients, like Apelles, of whom they read. After the fall of the Western Roman Empire in the fifth century AD, the Catholic Church filled the subsequent vacuum. In the Middle Ages, the Church was considered to be the will of God, and it regulated the standard of behaviour in life. A lack of literacy and prohibitions against translations of the Bible required most people to rely on the priestly explanation of Biblical ethics and laws. In the eleventh century, the Church persecuted many groups including pagans, Jews, and lepers in order to eliminate irregularities in society and strengthen Church power. In response to the laity's challenge to Church authority, bishops played an important role as they gradually lost control of secular authority. To regain the power of discourse, they adopted extreme control methods, such as persecuting infidels. The Church also collected wealth from believers in the Middle Ages, such as through the sale of indulgences, although this mainly occurred in northern Europe. It also did not pay taxes, making the Church's wealth greater than some kings. In the 13th century, much of Europe experienced strong economic growth. The trade routes of the Italian states linked with those of established Mediterranean ports and eventually the Hanseatic League of the Baltic and northern regions of Europe to create a network economy in Europe for the first time since the 4th century. The city-states of Italy expanded greatly during this period and grew in power to become de facto fully independent of the Holy Roman Empire; and apart from the Kingdom of Naples, outside powers kept their armies out of Italy. In the previous centuries, since Christians had not been allowed to lend money nor the Jews to farm, the Jewish communities had developed a modern commercial infrastructure, with double-entry book-keeping, joint stock companies, an international banking system, systematized foreign exchange market, insurance, government debt. In this period, Italian bankers began to rival the previous dominant role of the Jewish communities on financial services. Cities such as Siena and Florence became centers of this financial industry, and the gold florin eventually became the main currency of international trade. The new mercantile governing class, who gained their position through the loss of two-thirds of the Western European population in recurring plagues (followed by the Muslim sale of over a million Christian slaves into Africa) left acute labor shortages and a civilization able to demand higher pay and even private land ownership in return. The smaller population ultimately replaced the feudal aristocratic model that had dominated Europe in the Middle Ages. A feature of the High Middle Ages in Northern Italy was the rise of the urban communes which had broken from the control by bishops and local counts. In much of the region, the landed nobility was poorer than the urban patriarchs in the high medieval money economy, whose inflationary rise left land-holding aristocrats impoverished. The increase in trade during the early Renaissance enhanced these characteristics. The sharp decline in population led to a new class that replaced the serfs of feudalism and the rise of cities were synergistic; the demand for luxury goods, for example, led to an increase in trade, which led to greater numbers of tradesmen becoming wealthy, who, in turn, created a demand for spices and luxury goods. This change gave the merchants almost complete control of the governments of the Italian city-states, again enhancing trade. This atmosphere created a demand for visual symbols of wealth. In other words, the middle class was born. One of the most important effects of political control was security. Those who grew extremely wealthy in a feudal state ran the constant risk of running afoul of the monarchy and having their lands confiscated, as famously happened to Jacques Cœur in France. The northern states also kept many medieval laws that severely hampered commerce, such as those against usury, and prohibitions on trading with non-Christians. In the city-states of Italy, these laws were repealed or rewritten. The 14th century saw a series of catastrophes that caused the European economy to go into recession. The Medieval Warm Period was ending as climate change began the Little Ice Age. A colder climate saw agricultural output decline significantly, leading to repeated famines, exacerbated by the rapid population growth of the prior era. The Hundred Years' War between England and France disrupted trade throughout northwest Europe, most notably when, in 1345, King Edward III of England repudiated his debts, contributing to the collapse of the two largest Florentine banks, those of the Bardi and Peruzzi. In the east, war against Islam had disrupted trade routes as the Ottoman Empire expanded throughout the region. But most devastating was the Black Death that decimated the populations of the densely populated cities of Northern Italy and returned at intervals thereafter. Florence, for instance, which had a pre-plague population of 45,000 decreased over the next 47 years by 25–50%. Widespread disorder followed, including a revolt of Florentine textile workers, the ciompi, in 1378. It was during this period of instability that the first secular authors such as Dante and Petrarch lived, and the stirrings of Renaissance art were to be seen, notably in the realism of Giotto. These disasters would help bring about the Renaissance. As the Black Death wiped out a third of Europe's population, the resulting labour shortage increased wages and the remaining population became much wealthier, better fed, and, significantly, had more surplus money to spend on luxury goods. As incidences of the plague began to decline in the early 15th century, Europe's devastated population once again began to grow. The new demand for products and services also helped create a growing class of bankers, merchants, and skilled artisans. The horrors of the Black Death and the seeming inability of the Church to provide relief would contribute to a decline of church influence. Additionally, the collapse of the Bardi and Peruzzi banks would open the way for the Medici doges to rise to prominence in Florence. Roberto Sabatino Lopez argues that this economic collapse was the chief cause of the Renaissance. According to this view, in a more prosperous era, businessmen would have quickly reinvested their earnings in order to make more money in a climate favorable to investment. However, in the leaner years of the 14th century, the wealthy found few promising investment opportunities for their earnings and instead chose to spend more on culture and art. Unlike Roman texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Italy. Ancient Greek works on science, math and philosophy had been studied since the High Middle Ages in Western Europe and in the Islamic Golden Age (normally in translation), but Greek literary, oratorical and historical works (such as Homer, the Greek dramatists, Demosthenes and Thucydides) were not studied in either the Latin nor the medieval Muslim worlds; in the Middle Ages these sorts of texts were studied only by Byzantine scholars. Some argue that the Timurid Renaissance in Samarkand was linked with the Ottoman Empire, whose conquests led to the migration of Greek scholars to Italy. One of the greatest achievements of Italian Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity. Another popular explanation for the Italian Renaissance is the thesis, first advanced by historian Hans Baron, claims that the primary impetus of the early Renaissance was the long-running series of wars between Florence and Milan. By the late 14th century, Milan had become a centralized monarchy under the control of the Visconti family. Giangaleazzo Visconti, who ruled the city from 1378 to 1402, was renowned both for his cruelty and for his abilities, and set about building an empire in Northern Italy. He launched a long series of wars, with Milan steadily conquering neighbouring states and defeating the various coalitions led by Florence that sought in vain to halt the advance. This culminated in the 1402 siege of Florence when it looked as though the city was doomed to fall, before Giangaleazzo suddenly died and his empire collapsed. This thesis suggests that during these long wars, the leading figures of Florence rallied the people by presenting the war as one between the free republic and a despotic monarchy, between the ideals of the Greek and Roman Republics and those of the Roman Empire and medieval kingdoms. For Baron, the most important figure in crafting this ideology was Leonardo Bruni. This time of crisis in Florence was the period when the most influential figures of the early Renaissance were coming of age, such as Ghiberti, Donatello, Masolino, and Brunelleschi. Inculcated with this republican ideology, they went on to advocate republican ideas that were to have an enormous impact on the Renaissance and the rise of the West. Development Northern Italy and upper Central Italy were divided into a number of warring city-states, the most powerful being Milan, Florence, Pisa, Siena, Genoa, Ferrara, Mantua, Verona and Venice. High Medieval Northern Italy was further divided by the long-running battle for supremacy between the forces of the Papacy and of the Holy Roman Empire: each city aligned itself with one faction or the other, yet was divided internally between the two warring parties, Guelfs and Ghibellines. Warfare between the states was common, and invasion from outside Italy was confined to intermittent sorties of Holy Roman Emperors. Renaissance politics developed from this background. Since the 13th century, as armies became primarily composed of mercenaries, prosperous city-states could field considerable forces, despite their low populations. In the course of the 15th century, the most powerful city-states annexed their smaller neighbours. Florence took Pisa in 1406, Venice captured Padua and Verona, while the Duchy of Milan annexed a number of nearby areas including Pavia and Parma. The first part of the Renaissance saw almost constant warfare on land and sea as the city-states vied for preeminence. On land, these wars were primarily fought by armies of mercenaries known as condottieri, bands of soldiers drawn from around Europe, but especially Germany, Austria and Switzerland, led largely by Italian captains. The mercenaries were not willing to risk their lives unduly, and war became one largely of sieges and manoeuvring, occasioning few pitched battles. It was also in the interest of mercenaries on both sides to prolong any conflict, to continue their employment. Mercenaries were also a constant threat to their employers; if not paid, they often turned on their patron. If it became obvious that a state was entirely dependent on mercenaries, the temptation was great for the mercenaries to take over the running of it themselves—this occurred on a number of occasions. Neutrality was maintained with France, which found itself surrounded by enemies when Spain disputed Charles VIII's claim to the Kingdom of Naples. Peace with France ended when Charles VIII invaded Italy to take Naples. At sea, Italian city-states sent many fleets out to do battle. The main contenders were Pisa, Genoa, and Venice, but after a long conflict, the Genoese succeeded in reducing Pisa. Venice proved to be a more powerful adversary, and with the decline of Genoese power during the 15th century Venice became pre-eminent on the seas. In response to threats from the landward side, from the early 15th century Venice developed an increased interest in controlling the terrafirma as the Venetian Renaissance opened. On land, decades of fighting saw Florence, Milan, and Venice emerge as the dominant players, and these three powers finally set aside their differences and agreed to the Peace of Lodi in 1454, which saw relative calm brought to the region for the first time in centuries. This peace would hold for the next forty years, and Venice's unquestioned hegemony over the sea also led to unprecedented peace for much of the rest of the 15th century. At the beginning of the 15th century, adventurers and traders such as Niccolò Da Conti (1395–1469) traveled as far as Southeast Asia and back, bringing fresh knowledge on the state of the world, presaging further European voyages of exploration in the years to come. Until the late 14th century, prior to the Medici, Florence's leading family were the House of Albizzi. In 1293 the Ordinances of Justice were enacted which effectively became the constitution of the Republic of Florence throughout the Italian Renaissance. The city's numerous luxurious palazzi were becoming surrounded by townhouses, built by the ever prospering merchant class. In 1298, one of the leading banking families of Europe, the Bonsignoris, were bankrupted and so the city of Siena lost her status as the banking center of Europe to Florence. The main challengers of the Albizzi family were the Medicis, first under Giovanni de' Medici, and later under his son Cosimo de' Medici. The Medici controlled the Medici bank—then Europe's largest bank—and an array of other enterprises in Florence and elsewhere. In 1433, the Albizzi managed to have Cosimo exiled. The next year, however, saw a pro-Medici Signoria elected and Cosimo returned. The Medici became the town's leading family, a position they would hold for the next three centuries. Florence organized the trade routes for commodities between England and the Netherlands, France, and Italy. By the middle of the century, the city had become the banking capital of Europe and thereby obtained vast riches. In 1439, Byzantine Emperor John VIII Palaiologos attended a council in Florence in an attempt to unify the Eastern and Western Churches. This brought books and, especially after the fall of the Byzantine Empire in 1453, an influx of scholars to the city. Ancient Greece began to be studied with renewed interest, especially the Neoplatonic school of thought, which was the subject of an academy established by the Medici. Florence remained a republic until 1532 (see Duchy of Florence), traditionally marking the end of the High Renaissance in Florence, but the instruments of republican government were firmly under the control of the Medici and their allies, save during the intervals after 1494 and 1527. Cosimo and Lorenzo de' Medici rarely held official posts but were the unquestioned leaders. Cosimo was highly popular among the citizenry, mainly for bringing an era of stability and prosperity to the town. One of his most important accomplishments was negotiating the Peace of Lodi with Francesco Sforza ending the decades of war with Milan and bringing stability to much of Northern Italy. Cosimo was also an important patron of the arts, directly and indirectly, by the influential example he set. Cosimo was succeeded by his sickly son Piero de' Medici, who died after five years in charge of the city. In 1469 the reins of power passed to Cosimo's 21-year-old grandson Lorenzo, who would become known as "Lorenzo the Magnificent." Lorenzo was the first of the family to be educated from an early age in the humanist tradition and is best known as one of the Renaissance's most important patrons of the arts. Lorenzo reformed Florence's ruling council from 100 members to 70, formalizing the Medici rule. The republican institutions continued, but they lost all power. Lorenzo was less successful than his illustrious forebears in business, and the Medici commercial empire was slowly eroded. Lorenzo continued the alliance with Milan, but relations with the papacy soured, and in 1478, Papal agents allied with the Pazzi family in an attempt to assassinate Lorenzo. Although the Pazzi conspiracy failed, Lorenzo's young brother, Giuliano, was killed at Easter Sunday mass in the city's cathedral. The failed assassination led to a war with the Papacy and was used as justification to further centralize power in Lorenzo's hands. Renaissance ideals first spread from Florence to the neighbouring states of Tuscany such as Siena and Lucca. The Tuscan culture soon became the model for all the states of Northern Italy, and the Tuscan dialect came to predominate throughout the region, especially in literature. In 1447 Francesco Sforza came to power in Milan and rapidly transformed that still medieval city into a major center of art and learning that drew Leone Battista Alberti. Venice, one of the wealthiest cities due to its control of the Adriatic Sea, also became a center for Renaissance culture, especially Venetian Renaissance architecture. Smaller courts brought Renaissance patronage to lesser cities, which developed their characteristic arts: Ferrara, Mantua under the Gonzaga, and Urbino under Federico da Montefeltro. In Naples, the Renaissance was ushered in under the patronage of Alfonso I, who conquered Naples in 1443 and encouraged artists like Francesco Laurana and Antonello da Messina and writers like the poet Jacopo Sannazaro and the humanist scholar Angelo Poliziano. In 1417 the Papacy returned to Rome, but that once-imperial city remained poor and largely in ruins through the first years of the Renaissance. The great transformation began under Pope Nicholas V, who became pontiff in 1447. He launched a dramatic rebuilding effort that would eventually see much of the city renewed. The humanist scholar Aeneas Silvius Piccolomini became Pope Pius II in 1458. As the papacy fell under the control of wealthy families, such as the Medici and the Borgias, the spirit of Renaissance art and philosophy came to dominate the Vatican. Pope Sixtus IV continued Nicholas' work, most famously ordering the construction of the Sistine Chapel. The popes also became increasingly secular rulers as the Papal States were forged into a centralized power by a series of "warrior popes". The nature of the Renaissance also changed in the late 15th century. The Renaissance ideal was fully adopted by the ruling classes and the aristocracy. In the early Renaissance artists were seen as craftsmen with little prestige or recognition. By the later Renaissance, the top figures wielded great influence and could charge great fees. A flourishing trade in Renaissance art developed. While in the early Renaissance many of the leading artists were of lower- or middle-class origins, increasingly they became aristocrats. As a cultural movement, the Italian Renaissance affected only a small part of the population. Italy was the most urbanized region of Europe, but three-quarters of the people were still rural peasants. For this section of the population, life remained essentially unchanged from the Middle Ages. Classic feudalism had never been prominent in Northern Italy, and most peasants worked on private farms or as sharecroppers. Some scholars see a trend towards refeudalization in the later Renaissance as the urban elites turned themselves into landed aristocrats. The situation differed in the cities. These were dominated by a commercial elite; as exclusive as the aristocracy of any medieval kingdom. This group became the main patrons of and audience for Renaissance culture. Below them, there was a large class of artisans and guild members who lived comfortable lives and had significant power in the republican governments. This was in sharp contrast to the rest of Europe where artisans were firmly in the lower class. Literate and educated, this group participated in the Renaissance culture. The largest section of the urban population was the urban poor of semi-skilled workers and the unemployed. Like the peasants, the Renaissance had little effect on them. Historians debate how easy it was to move between these groups during the Italian Renaissance. Examples of individuals who rose from humble beginnings can be instanced, but Burke notes two major studies in this area that have found that the data do not clearly demonstrate an increase in social mobility. Most historians feel that early in the Renaissance social mobility was quite high, but that it faded over the course of the 15th century. Inequality in society was very high. An upper-class figure would control hundreds of times more income than a servant or labourer. Some historians see this unequal distribution of wealth as important to the Renaissance, as art patronage relies on the very wealthy. The Renaissance was not a period of great social or economic change, only of cultural and ideological development. It only touched a small fraction of the population, and in modern times this has led many historians, such as any that follow historical materialism, to reduce the importance of the Renaissance in human history. These historians tend to think in terms of "Early Modern Europe" instead. Roger Osborne argues that "The Renaissance is a difficult concept for historians because the history of Europe quite suddenly turns into a history of Italian painting, sculpture and architecture." The end of the Italian Renaissance is as imprecisely marked as its starting point. For many, the rise to power in Florence of the austere monk Girolamo Savonarola in 1494–1498 marks the end of the city's flourishing; for others, the triumphant return of the Medici family to power in 1512 marks the beginning of the late phase in the Renaissance arts called Mannerism. Other accounts trace the end of the Italian Renaissance to the French invasions of the early 16th century and the subsequent conflict between France and Spanish rulers for control of Italian territory. Savonarola rode to power on a widespread backlash over the secularism and indulgence of the Renaissance. His brief rule saw many works of art destroyed in the "Bonfire of the Vanities" in the center of Florence. With the Medici returned to power, now as Grand Dukes of Tuscany, the counter-movement in the church continued. In 1542 the Sacred Congregation of the Inquisition was formed and a few years later the Index Librorum Prohibitorum banned a wide array of Renaissance works of literature, which marks the end of the illuminated manuscript together with Giulio Clovio, who is considered the greatest illuminator of the Italian High Renaissance, and arguably the last very notable artist in the long tradition of the illuminated manuscript, before some modern revivals. Under the suppression of the Catholic Church and the ravages of war, humanism became "akin to heresy". Equally important was the end of stability with a series of foreign invasions of Italy known as the Italian Wars that would continue for several decades. These began with the 1494 invasion by France that wreaked widespread devastation on Northern Italy and ended the independence of many of the city-states. Most damaging was the 6 May 1527, Spanish and German troops' sacking Rome that for two decades all but ended the role of the Papacy as the largest patron of Renaissance art and architecture. While the Italian Renaissance was fading, the Northern Renaissance adopted many of its ideals and transformed its styles. A number of Italy's greatest artists chose to emigrate. The most notable example was Leonardo da Vinci, who left for France in 1516, but teams of lesser artists invited to transform the Château de Fontainebleau created the School of Fontainebleau that infused the style of the Italian Renaissance in France. From Fontainebleau, the new styles, transformed by Mannerism, brought the Renaissance to the Low Countries and thence throughout Northern Europe. This spread north was also representative of a larger trend. No longer was the Mediterranean Europe's most important trade route. In 1498, Vasco da Gama reached India, and from that date the primary route of goods from the Orient was through the Atlantic ports of Lisbon, Seville, Nantes, Bristol, and London. Culture The thirteenth-century Italian literary revolution helped set the stage for the Renaissance. Before the Renaissance, the Italian language was not the literary language in Italy. It was only in the 13th century that Italian authors began writing in their native language rather than Latin, French, or Provençal. The 1250s saw a major change in Italian poetry as the Dolce Stil Novo (Sweet New Style, which emphasized Platonic rather than courtly love) came into its own, pioneered by poets like Guittone d'Arezzo and Guido Guinizelli. Especially in poetry, major changes in Italian literature had been taking place decades before the Renaissance truly began. With the printing of books initiated in Venice by Aldus Manutius, an increasing number of works began to be published in the Italian language in addition to the flood of Latin and Greek texts that constituted the mainstream of the Italian Renaissance. The source for these works expanded beyond works of theology and towards the pre-Christian eras of Imperial Rome and Ancient Greece. This is not to say that no religious works were published in this period: Dante Alighieri's The Divine Comedy reflects a distinctly medieval world view. Christianity remained a major influence for artists and authors, with the classics coming into their own as a second primary influence. In the early Italian Renaissance, much of the focus was on translating and studying classic works from Latin and Greek. Renaissance authors were not content to rest on the laurels of ancient authors, however. Many authors attempted to integrate the methods and styles of the ancient Greeks into their own works. Among the most emulated Romans are Cicero, Horace, Sallust, and Virgil. Among the Greeks, Aristotle, Homer, and Plato were now being read in the original for the first time since the 4th century, though Greek compositions were few. The literature and poetry of the Renaissance were largely influenced by the developing science and philosophy. The humanist Francesco Petrarch, a key figure in the renewed sense of scholarship, was also an accomplished poet, publishing several important works of poetry. He wrote poetry in Latin, notably the Punic War epic Africa, but is today remembered for his works in the Italian vernacular, especially the Canzoniere, a collection of love sonnets dedicated to his unrequited love Laura. He was the foremost writer of Petrarchan sonnets, and translations of his work into English by Thomas Wyatt established the sonnet form in that country, where it was employed by William Shakespeare and countless other poets. Petrarch's disciple, Giovanni Boccaccio, became a major author in his own right. His major work was the Decameron, a collection of 100 stories told by ten storytellers who have fled to the outskirts of Florence to escape the black plague over ten nights. The Decameron in particular and Boccaccio's work, in general, were a major source of inspiration and plots for many English authors in the Renaissance, including Geoffrey Chaucer and William Shakespeare. Aside from Christianity, classical antiquity, and scholarship, a fourth influence on Renaissance literature was politics. The political philosopher Niccolò Machiavelli's most famous works are Discourses on Livy, Florentine Histories and finally The Prince, which has become so well known in modern societies that the word Machiavellian has come to refer to the cunning and ruthless actions advocated by the book. Along with many other Renaissance works, The Prince remains a relevant and influential work of literature today. Many Italian Renaissance humanists also praised and affirmed the beauty of the body in poetry and literature. In Baldassare Rasinus's panegyric for Francesco Sforza, Rasinus considered that beautiful people usually have virtue. In northern Italy, humanists had discussions about the connection between physical beauty and inner virtues. In Renaissance Italy, virtue and beauty were often linked together to praise men. One role of Petrarch is as the founder of a new method of scholarship, Renaissance humanism. Petrarch encouraged the study of the Latin classics and carried his copy of Homer about, at a loss to find someone to teach him to read Greek. An essential step in the classic humanist education being propounded by scholars like Pico della Mirandola was the hunting down of lost or forgotten manuscripts that were known only by reputation. These endeavours were greatly aided by the wealth of Italian patricians, merchant-princes and despots, who would spend substantial sums building libraries. Discovering the past had become fashionable and it was a passionate affair pervading the upper reaches of society. I go, said Cyriac of Ancona, I go to awake the dead. As the Greek works were acquired, manuscripts found, libraries and museums formed, the age of the printing press was dawning. The works of Antiquity were translated from Greek and Latin into the contemporary modern languages throughout Europe, finding a receptive middle-class audience, which might be, like Shakespeare, "with little Latin and less Greek". While concern for philosophy, art, and literature all increased greatly in the Renaissance, the period is usually seen as one of scientific backwardness. The reverence for classical sources further enshrined the Aristotelian and Ptolemaic views of the universe. Humanism stressed that nature came to be viewed as an animate spiritual creation that was not governed by laws or mathematics. At the same time, philosophy lost much of its rigour as the rules of logic and deduction were seen as secondary to intuition and emotion. During the Renaissance, great advances occurred in geography, astronomy, chemistry, physics, mathematics, manufacturing, anatomy and engineering. The collection of ancient scientific texts began in earnest at the start of the 15th century and continued up to the Fall of Constantinople in 1453, and the invention of printing democratized learning and allowed a faster propagation of new ideas. Although humanists often favoured human-centered subjects like politics and history over study of natural philosophy or applied mathematics, many others went beyond these interests and had a positive influence on mathematics and science by rediscovering lost or obscure texts and by emphasizing the study of original languages and the correct reading of texts. Italian universities such as Padua, Bologna and Pisa were scientific centers of renown and with many northern European students, the science of the Renaissance spread to Northern Europe and flourished there as well. Copernicus was a student in Bologna from 1496 to 1501 and in Padua from 1501 to 1503. Bodies were also stolen from gallows and examined by many like Andreas Vesalius, a professor of anatomy. This allowed him to create more accurate skeleton models by making more than 200 corrections to the works of Galen who dissected animals. Major developments in mathematics include the spread of algebra throughout Europe, especially Italy. Luca Pacioli published a book on mathematics at the end of the fifteenth century, in which he first published positive and negative signs. Basic mathematical symbols were introduced by Simon Stevin in the 16th and early 17th centuries. Symbolic algebra was established by the French mathematician François Viete in the 16th century. He published "Introduction to Analytical Methods" in 1591, systematically sorting out algebra, and for the first time consciously using letters to represent unknown and known numbers. In his other book "On the Recognition and Correction of Equations", Viete improved the solution of the third-degree and fourth-degree equations, and also established the relationship between the roots and coefficients of quadratic and cubic equations, which is called "Viete's formulas" now. Trigonometry also achieved greater development during the Renaissance. The German mathematician Regiomontanus's "On Triangles of All Kinds" was Europe's first trigonometric work independent of astronomy. The book systematically elaborated plane triangles and spherical triangles, as well as a very precise table of trigonometric functions. In painting, the late medieval painter Giotto di Bondone, or Giotto, helped shape the artistic concepts that later defined much of the Renaissance art. The key ideas that he explored – classicism, the illusion of three-dimensional space and a realistic emotional context – inspired other artists such as Masaccio, Michelangelo and Leonardo da Vinci. He was not the only medieval artist to develop these ideas, however; the artists Pietro Cavallini and Cimabue both influenced Giotto's use of statuesque figures and expressive storylines. The frescos of Florentine artist Masaccio are generally considered to be among the earliest examples of Italian Renaissance art. Masaccio incorporated the ideas of Giotto, Donatello and Brunelleschi into his paintings, creating mathematically precise scenes that give the impression of three-dimensional space. The Holy Trinity fresco in the Florentine church of Santa Maria Novella, for example, looks as if it is receding at a dramatic angle into the dark background, while single-source lighting and foreshortening appear to push the figure of Christ into the viewer's space. While mathematical precision and classical idealism fascinated painters in Rome and Florence, many Northern artists in the regions of Venice, Milan and Parma preferred highly illusionistic scenes of the natural world. The period also saw the first secular (non-religious) themes. There has been much debate as to the degree of secularism in the Renaissance, which had been emphasized by early 20th-century writers like Jacob Burckhardt based on, among other things, the presence of a relatively small number of mythological paintings. Those of Botticelli, notably The Birth of Venus and Primavera, are now among the best known, although he was deeply religious (becoming a follower of Savonarola) and the great majority of his output was of traditional religious paintings or portraits. In sculpture, the Florentine artist Donato di Niccolò di Betto Bardi, or Donatello, was among the earliest sculptors to translate classical references into marble and bronze. His second sculpture of David was the first free-standing bronze nude created in Europe since the Roman Empire. The period known as the High Renaissance of painting was the culmination of the varied means of expression and various advances in painting technique, such as linear perspective, the realistic depiction of both physical and psychological features, and the manipulation of light and darkness, including tone contrast, sfumato (softening the transition between colours) and chiaroscuro (contrast between light and dark), in a single unifying style which expressed total compositional order, balance and harmony. In particular, the individual parts of the painting had a complex but balanced and well-knit relationship to the whole. The most famous painters from this phase are Leonardo da Vinci, Raphael, and Michelangelo and their images, including Leonardo's The Last Supper and Mona Lisa, Raphael's The School of Athens and Michelangelo's Sistine Chapel Ceiling are the masterpieces of the period and among the most widely known works of art in the world. High Renaissance painting evolved into Mannerism, especially in Florence. Mannerist artists, who consciously rebelled against the principles of High Renaissance, tend to represent elongated figures in illogical spaces. Modern scholarship has recognized the capacity of Mannerist art to convey strong (often religious) emotion where the High Renaissance failed to do so. Some of the main artists of this period are Pontormo, Bronzino, Rosso Fiorentino, Parmigianino and Raphael's pupil Giulio Romano. In Florence, the Renaissance style was introduced with a revolutionary but incomplete monument by Leone Battista Alberti. Some of the earliest buildings showing Renaissance characteristics are Filippo Brunelleschi's church of San Lorenzo and the Pazzi Chapel. The interior of Santo Spirito expresses a new sense of light, clarity and spaciousness, which is typical of the early Italian Renaissance. Its architecture reflects the philosophy of Renaissance humanism, the enlightenment and clarity of mind as opposed to the darkness and spirituality of the Middle Ages. The revival of classical antiquity can best be illustrated by the Palazzo Rucellai. Here the pilasters follow the superposition of classical orders, with Doric capitals on the ground floor, Ionic capitals on the piano nobile and Corinthian capitals on the uppermost floor. Soon, Renaissance architects favoured grand, large domes over tall and imposing spires, doing away with the Gothic style of the predating ages. In Mantua, Alberti ushered in the new antique style, though his culminating work, Sant'Andrea, was not begun until 1472, after the architect's death. The High Renaissance, as we call the style today, was introduced to Rome with Donato Bramante's Tempietto at San Pietro in Montorio (1502) and his original centrally planned St. Peter's Basilica (1506), which was the most notable architectural commission of the era, influenced by almost all notable Renaissance artists, including Michelangelo and Giacomo della Porta. The beginning of the late Renaissance in 1550 was marked by the development of a new column order by Andrea Palladio. Giant order columns that were two or more stories tall decorated the facades. During the Italian Renaissance, mathematics was developed and spread widely. As a result, some Renaissance architects used mathematical knowledge like calculation in their drawings, such as Baldassarre Peruzzi. In Italy, during the 14th century, there was an explosion of musical activity that corresponded in scope and level of innovation to the activity in the other arts. Although musicologists typically group the music of the Trecento (music of the 14th century) with the late medieval period, it included features which align with the early Renaissance in important ways: an increasing emphasis on secular sources, styles and forms; a spreading of culture away from ecclesiastical institutions to the nobility, and even to the common people; and quick development of entirely new techniques. The principal forms were the Trecento madrigal, the caccia, and the ballata. Overall, the musical style of the period is sometimes labelled as the "Italian ars nova." From the early 15th century to the middle of the 16th century, the center of innovation in religious music was in the Low Countries, and a flood of talented composers came to Italy from this region. Many of them sang in either the papal choir in Rome or the choirs at the numerous chapels of the aristocracy, in Rome, Venice, Florence, Milan, Ferrara and elsewhere; and they brought their polyphonic style with them, influencing many native Italian composers during their stay. The predominant forms of sacred music during the period were the mass and the motet. By far the most famous composer of church music in 16th-century Italy was Palestrina, the most prominent member of the Roman School, whose style of smooth, emotionally cool polyphony was to become the defining sound of the late 16th century, at least for generations of 19th- and 20th-century musicologists. Other Italian composers of the late 16th century focused on composing the main secular form of the era, the madrigal; for almost a hundred years these secular songs for multiple singers were distributed all over Europe. Composers of madrigals included Jacques Arcadelt, at the beginning of the age, Cipriano de Rore, in the middle of the century, and Luca Marenzio, Philippe de Monte, Carlo Gesualdo, and Claudio Monteverdi at the end of the era. Italy was also a center of innovation in instrumental music. By the early 16th century keyboard improvisation came to be greatly valued, and numerous composers of virtuoso keyboard music appeared. Many familiar instruments were invented and perfected in late Renaissance Italy, such as the violin, the earliest forms of which came into use in the 1550s. By the late 16th century, Italy was the musical center of Europe. Almost all of the innovations which were to define the transition to the Baroque period originated in northern Italy in the last few decades of the century. In Venice, the polychoral productions of the Venetian School, and associated instrumental music, moved north into Germany; in Florence, the Florentine Camerata developed monody, the important precursor to opera, which itself first appeared around 1600; and the avant-garde, manneristic style of the Ferrara school, which migrated to Naples and elsewhere through the music of Carlo Gesualdo, was to be the final statement of the polyphonic vocal music of the Renaissance. Historiography Any unified theory of a renaissance, or cultural overhaul, during the European early modern period, is overwhelmed by a massive volume of differing historiographical approaches. Historians like Jacob Burckhardt (1818–1897) have often romanticized the enlightened vision that Italian Renaissance writers have promulgated concerning their own narrative of denouncing the fruitlessness of the Middle Ages. By promoting the Renaissance as the definitive end to the "stagnant" Middle Ages, the Renaissance has acquired the powerful and enduring association with progress and prosperity for which Burckhardt's The Civilization of the Renaissance in Italy is most responsible. Modern scholars have objected to this prevailing narrative, citing the medieval period's own vibrancy and key continuities that link, rather than divide, the Middle Ages and the Renaissance. Elizabeth Lehfeldt (2005) points to the Black Death as a turning point in Europe that set in motion several movements that were gaining massive traction in the years before, and has accounted for many subsequent events and trends in Western civilization, such as the Reformation. Rather than see this as a distinct cutoff between eras of history, the rejuvenated approach to studying the Renaissance aims to look at this as a catalyst that accelerated trends in art and science that were already well developed. For example, Danse Macabre, the artistic movement using death as the focal point, is often credited as a Renaissance trend, yet Lehfeldt argues that the emergence of Gothic art during medieval times was morphed into Danse Macabre after the Black Death swept over Europe. Recent historians who take a more revisionist perspective, such as Charles Haskins (1860–1933), identify the hubris and nationalism of Italian politicians, thinkers, and writers as the cause of the distortion of the attitude towards the early modern period. In The Renaissance of the Twelfth Century (1927), Haskins asserts that it is human nature to draw stark divides in history to better understand the past. However, it is essential to understand history as continuous and constantly building off of the past. Haskins was one of the leading scholars in this school of thought, and it was his (along with several others) belief that the building blocks for the Italian Renaissance were all laid during the Middle Ages, calling on the rise of towns and bureaucratic states in the late 11th century as proof of the significance of this "pre-renaissance." The flow of history that he describes paints the Renaissance as a continuation of the Middle Ages that may not have been as positive of a change as popularly imagined. Many historians after Burckhardt have argued that the regression of the Latin language, economic recession, and social inequality during the Renaissance have been intentionally glossed over by previous historians in order to promote the mysticism of the era. Burckhardt famously described the Middle Ages as a period that was "seen clad in strange hues", promoting the idea that this era was inherently dark, confusing, and unprogressive. The term middle ages was first referred to by humanists such as Petrarch and Biondo, during the late 15th century, describing it as a period connecting an important beginning and an important end, and as a placeholder for the history that exists between both sides of the period. This period was eventually referred to as the "dark" ages in the 19th century by English historians, which has further tainted the narrative of medieval times in favour of promoting a positive feeling of individualism and humanism that spurred from the Renaissance. See also Notes References External links |
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Contents Ripley Entertainment Ripley Entertainment Inc. is an entertainment and edutainment holding company owned by the Jim Pattison Group of Vancouver, British Columbia, Canada. The company, headquartered in an unincorporated part of southern Orange County, Florida, was founded by cartoonist and amateur anthropologist Robert Ripley, the namesake of the company, in 1918. The company primarily deals in amusement attractions, most notably the Ripley's Believe It or Not! museums, which feature various collections of oddities. They additionally own a publishing division, Ripley Publishing, which publishes the Ripley's Believe It or Not Annual alongside other books under the Ripley name. Properties References |
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Contents Carnival Carnival (known as Shrovetide in certain localities) is a festive season that occurs at the close of the Christian pre-Lenten period, consisting of Quinquagesima or Shrove Sunday, Shrove Monday, and Shrove Tuesday or Mardi Gras. Carnival typically involves public celebrations, including events such as parades, public street parties and other entertainments, combining some elements of a circus. Elaborate costumes and masks allow people to set aside their everyday individuality and experience a heightened sense of social unity. Participants often indulge in excessive consumption of alcohol, meat, and other foods that will be forgone during upcoming Lent. Traditionally, butter, milk, and other animal products were not consumed "excessively", rather, their stock was fully consumed during Shrovetide as to reduce waste. This festival is known for being a time of great indulgence before Lent (which is a time stressing the opposite), with drinking, overeating, and various other activities of indulgence being performed. For example, pancakes, donuts, and other desserts are prepared and eaten for a final time. During Lent, dairy and animal products are eaten less, if at all, and individuals make a Lenten sacrifice, thus giving up a certain object of desire (e.g. sweets), with the money that would go to purchase what was sacrificed being donated at the church as alms for the poor. As such, during the season of Shrovetide, it is customary for Christians to ponder what Lenten sacrifices they will make for the coming Lent. The traditions of carrying Shrovetide rods and consuming Shrovetide buns after attending church are celebrated. On the final day of the season, Shrove Tuesday, many traditional Christians, such as Lutherans, Anglicans, and Roman Catholics, "make a special point of self-examination, of considering what wrongs they need to repent, and what amendments of life or areas of spiritual growth they especially need to ask God's help in dealing with." During Shrovetide, many churches place a basket in the narthex to collect the previous year's Holy Week palm branches that were blessed and distributed during the Palm Sunday liturgies. On Shrove Tuesday (the final day of Shrovetide), churches burn these palms to make the ashes used during the services held on the very next day, Ash Wednesday. The term "Carnival" is traditionally used in areas with a large Catholic presence, as well as in Greece. The celebration is known as Fastelavn in historically Evangelical Lutheran countries. It is called Shrovetide in areas with a high concentration of Anglicans (Church of England/US Episcopal Church), Methodists, and other Protestants. In Slavic Eastern Orthodox nations, Maslenitsa is celebrated during the last week before Great Lent. In German-speaking Europe and the Netherlands, the Carnival season traditionally opens on 11/11 (often at 11:11 a.m.). This dates back to celebrations before the Advent season or with harvest celebrations of St. Martin's Day. Etymology The word carnival is said to come from the Late Latin expression carne levare, which means "remove meat"; a folk etymology derives it from carne vale, "farewell to meat". In either case, this signifies the approaching fast of Lent. The word carne may also be translated as flesh, producing "a farewell to the flesh", a phrase embraced by certain Carnival celebrants to embolden the festival's carefree spirit. Other scholars argue that the origin of the word is a common meat-based country feast (in Latin carnualia) or the festival of the Navigium Isidis ("ship of Isis"), where the image of Isis was carried to the seashore to bless the start of sailing season. The festival consisted of a parade of masks following an adorned wooden boat, called in Latin carrus navalis, possibly the source of both the name and the parade floats. History The characteristics of the celebration of Carnival take their origins from ancient European festivals, such as the Greek Dionysian (the Anthesteria) or the Roman Saturnalia. During these festivities, there was a temporary release from social obligations and hierarchies to make way for the overthrow of order, joking and even debauchery. From a historical and religious point of view, the Carnival therefore represented a period of celebration, but above all of symbolic renewal, during which chaos replaced the established order, which, however, once the festive period was over, re-emerged new or renewed and guaranteed for a cycle valid until the beginning of the following Carnival. From an anthropological point of view, Carnival is a reversal ritual, in which social roles are reversed and norms about desired behavior are suspended. During antiquity, winter was thought of as the reign of the winter spirits; these needed to be driven out in order for summer to return. Carnival can thus be regarded as a rite of passage from darkness to light, from winter to summer: a fertility celebration, the first spring festival of the new year. Several Germanic tribes celebrated the returning of the daylight. Winter would be driven out, to make sure that fertility could return in spring. A central figure of this ritual was possibly the fertility goddess Nerthus. Also, there are some indications that the effigy of Nerthus or Freyr was placed on a ship with wheels and accompanied by a procession of people in animal disguise and men in women's clothes. Aboard the ship a marriage would be consummated as a fertility ritual. Tacitus wrote in his Germania: Germania 9.6: Ceterum nec cohibere parietibus deos neque in ullam humani oris speciem adsimulare ex magnitudine caelestium arbitrator – "The Germans, however, do not consider it consistent with the grandeur of celestial beings to confine the gods within walls, or to liken them to the form of any human countenance." Germania 40: mox vehiculum et vestis et, si credere velis, numen ipsum secreto lacu abluitur – "Afterwards the car, the vestments, and, if you like to believe it, the divinity herself, are purified in a secret lake." In the Middle Ages, Carnival referred to a period following Epiphany season that reached its climax before midnight on Shrove Tuesday. British historian John Bossy, in writing on the origin of the practices during Carnival, states that "These were, despite some appearances, Christian in character, and they were medieval in origin: although it has been widely supposed that they continued some kind of pre-Christian cult, there is in fact no evidence that they existed much before 1200." Because Lent was a period of fasting, "Carnival therefore represented a last period of feasting and celebration before the spiritual rigors of Lent." Meat was plentiful during this part of the Christian calendar and it was consumed during Carnival as people abstained from meat consumption during the following liturgical season, Lent. During Carnival, also known as Shrovetide, people confessed (shrived) their sins in preparation for Lent as well. Shakespeare's 1601 play, The Merchant of Venice, Scene 5 of Act 2, mentions Christians who painted their faces to celebrate the season: What, are there masques? Hear you me, Jessica: Lock up my doors, and when you hear the drum And the vile squealing of the wry-neck'd fife, Clamber not you up to the casements then, Nor thrust your head into the public street To gaze on Christian fools with varnish'd faces. Traditionally, a Carnival feast was the last opportunity for common people to eat well, as there was typically a food shortage at the end of the winter as stores ran out. Until spring produce was available, people were limited to the minimum necessary meals during this period. On what nowadays is called vastenavond (the days before fasting), all the remaining winter stores of lard, butter, and meat which were left would be eaten, for these would otherwise soon start to rot and decay. The selected livestock had already been slaughtered in November and the meat would no longer be preservable. All the food that had survived the winter had to be eaten to assure that everyone was fed enough to survive until the coming spring would provide new food sources. Traditionally, the feast also was a time to indulge in sexual desires, which were supposed to be suppressed during the following period fasting. Before Lent began, all rich food and drink were consumed in what became a giant celebration that involved the whole community, and is thought to be the origin of Carnival. In many Christian sermons and texts, the example of a vessel is used to explain Christian doctrine: "the nave of the church of baptism", "the ship of Mary", etc. The writings show that processions with ship-like carts were held and lavish feasts were celebrated on the eve of Lent or the greeting of spring in the early Middle Ages. The Lenten period of the liturgical calendar, the six weeks directly before Easter, was historically marked by fasting, study, and other pious or penitential practices. During Lent, no parties or celebrations were held, and people refrained from eating rich foods, such as meat, dairy, fat, and sugar. The first three classes were often totally unavailable during this period because of late winter shortages. While Christian festivals such as Corpus Christi were Church-sanctioned celebrations, Carnival was also a manifestation of European folk culture. In the Christian tradition, fasting is to commemorate the 40 days that Jesus fasted in the desert, according to the New Testament, and also to reflect on Christian values. It was a time for catechumens (those converting to Christianity) to prepare for baptism at Easter. Carnival in the Middle Ages took not just a few days, but almost the entire period between Christmas and the beginning of Lent. In those two months, Christian populations used their several holidays as an outlet for their daily frustrations. Many synods and councils attempted to set things "right". Caesarius of Arles (470–542) protested around 500 CE in his sermons against the pagan practices. Centuries later, his statements were adapted as the building blocks of the Indiculus superstitionum et paganiarum ("small index of superstitious and pagan practices"), which was drafted by the Synod of Leptines in 742. It condemned the Spurcalibus en februario. Pope Gregory the Great (590–604) decided that fasting would start on Ash Wednesday. The whole Carnival event was set before the fasting, to set a clear division between celebrations and penitence. He also dispatched missionaries to sanctify any excesses in popular Carnival customs. It was also the custom during Carnival that the ruling class would be playfully mocked using masks and disguises. In the year 743, the synod in Leptines (located near Binche in Belgium) spoke out furiously against the excesses in the month of February. Also from the same period dates the phrase: "Whoever in February by a variety of less honorable acts tries to drive out winter is not a Christian, but a pagan." Confession books from around 800 contain more information about how people would dress as an animal or old woman during the festivities in January and February, even though this was a sin with no small penance. Also in Spain in the seventh century, San Isidoro de Sevilla complained in his writings about people coming out into the streets disguised, in many cases, as the opposite sex. Gradually, ecclesiastical authority began to realize that the desired result could not be achieved by banning Carnivals, which eventually led to a degree of Christianization of the traditions. They then became part of the liturgy and the liturgical year. In the Middle Ages, "Carnival and Lent were both necessary, inevitable episodes in the eternal cycle of the Church year." While forming an integral part of the Christian calendar, particularly in Catholic regions, many Carnival traditions resemble those antedating Christianity. While medieval pageants and festivals such as Corpus Christi were church-sanctioned, Carnival was also a manifestation of medieval folk culture. Many local Carnival customs are claimed to derive from local pre-Christian rituals, such as elaborate rites involving masked figures in the Swabian-Alemannic Fastnacht. However, evidence is insufficient to establish a direct origin from Saturnalia or other ancient festivals. No complete accounts of Saturnalia survive, and the shared features of feasting, role reversals, temporary social equality, masks, and permitted rule-breaking do not necessarily constitute a coherent festival or link these festivals. These similarities may represent a reservoir of cultural resources that can embody multiple meanings and functions. For example, Easter begins with the resurrection of Jesus, followed by a liminal period, and ends with rebirth[clarification needed]. Carnival reverses this as King Carnival comes to life, and a liminal period follows before his death. Both feasts are calculated by the lunar calendar. Both Jesus and King Carnival may be seen as expiatory figures who make a gift to the people with their deaths. In the case of Jesus, the gift is eternal life in heaven, and in the case of King Carnival, the acknowledgement that death is a necessary part of the cycle of life. Besides Christian anti-Judaism, the commonalities between church and Carnival rituals and imagery suggest a common root. In early Christianity, Christ is figured as the victim of summary judgment, and is tortured and executed by Romans before a Jewish mob ("His blood is on us and on our children!" Matthew 27:24–25). Holy Week processions in Spain include crowds who vociferously insult the figure of Jesus. Irreverence, parody, degradation, and laughter at a tragicomic effigy of God can be seen as intensifications of the sacred order. In 1466, in festivities sponsored by Pope Paul II, Jews were forced to race naked through the streets of the city of Rome. Clement IX stopped these practices and in their place assessed a heavy tax on the Jews to help pay for the costs of the city's Carnival celebrations. Some of the best-known traditions, including carnal parades and masquerade balls, were first recorded in medieval Italy. The Carnival of Venice was, for a long time, the most famous Carnival (although Napoleon abolished it in 1797 and only in 1979 was the tradition restored). From Italy, Carnival traditions spread to Spain, Portugal, and France, and from France to New France in North America. From Spain and Portugal, it spread with colonization to the Caribbean and Latin America. In the early 19th century in the German Rhineland and Southern Netherlands, the weakened medieval tradition also revived. Continuously in the 18th and 19th centuries CE, as part of the annual abuse of the Carnival in Rome, rabbis of the ghetto were forced to march through the city streets wearing foolish guise, jeered upon and pelted by a variety of missiles from the crowd. A petition of the Jewish community of Rome sent in 1836 to Pope Gregory XVI to stop the annual abuse was denied: "It is not opportune to make any innovation." In the Rhineland in 1823, the first modern Carnival parade took place in Cologne. Carnaval (Karneval, Fasching or Fastnacht in Germany) mixed pagan traditions with Christian traditions. Pre-Lenten celebrations featured parades, costumes and masks to endure Lent's withdrawal from worldly pleasures. Other areas developed their own traditions. In the United Kingdom, West Indian immigrants brought with them the traditions of Caribbean Carnival; however, the Carnivals now celebrated at Notting Hill, Leeds, Yorkshire, and other places became divorced from their religious origin and became secular events that take place in the summer months.[citation needed] Theories Interpretations of Carnival present it as a social institution that degrades or "uncrowns" the higher functions of thought, speech, and the soul by translating them into the grotesque body, which serves to renew society and the world, as a release for impulses that threaten the social order that ultimately reinforces social norms, as a social transformation, or as a tool for different groups to focus attention on conflicts and incongruities by embodying them in "senseless" acts. Furthermore, some cultures use Carnival as a method of empowering themselves in spite of social conflicts. For example, when the Caribbean Carnival was established as a result of French settlers, even the slaves had their version of the masquerade, where they would reverse roles to mock those of higher social status. Along with empowering individuals for a period of time, despite their typical status, Carnival brings communities together. In a day where all are meant to perform a "mask" that differs from their typical identity, all members of a society are able to connect through their theatricality and satire. Mircea Eliade, historian of religions, writes: "Any new year is a revival of time at its beginning, a repetition of the cosmogony. Ritual fights between two groups of extras, the presence of the dead, Saturnalia and orgies, are all elements which indicate that at the end of the year and in the expectation of the new year the mythical moments of the passage of chaos to the cosmogony are repeated". Eliade also writes: "Then the dead will come back, because all barriers between the dead and the living are broken (is the primordial chaos not revived?), and will come back since – at this paradoxical moment – time will be interrupted, so that the dead may be again contemporaries of the living." Eliade speculates that people have "a deep need to regenerate themselves periodically by abolishing the elapsed time and making topical the cosmogony". As regards masks (monsters, animals, demons), he assigns them an apotropaic meaning. Geographic distribution For the Canary Islands, see its section under Europe. Carnival was introduced by Portuguese settlers. It is celebrated on each of the archipelago's nine inhabited islands. In Mindelo, São Vicente, groups challenge each other for a yearly prize. It has imported various Brazilian Carnival traditions. The celebration in São Nicolau is more traditional, where established groups parade through the Ribeira Brava, gathering in the town square, although it has adopted drums, floats and costumes from Brazil. In São Nicolau, three groups, Copa Cabana, Estrela Azul, and Brilho Da Zona, construct a painted float using fire, newspaper for the mold, and iron and steel for structure. Carnival São Nicolau is celebrated over three days: dawn Saturday, Sunday afternoon, and Tuesday. The celebrations are captured in the award-winning feature documentary Tchindas, nominated at the 12th Africa Movie Academy Awards. Carnival was introduced by German settlers. The celebration is based on the "Rheinische" Carnival tradition. The Seychelles carnival began in 2011. It is held in the capital city of Victoria and takes place over three days. On Day 1, the grand opening is held in the city center near the clock tower. The second day is parade day. On Day 3, the closing ceremony is held, and a lottery winner is announced. The Harare Carnival is held late in May. Events include fashion and music shows. The climax is a street party featuring costumes and music. The Antiguan Carnival is held from the end of July to the first Tuesday in August. The most important day is that of the j'ouvert (or juvé), in which brass and steelpan bands perform. Barbuda's Carnival, held in June, is known as "Caribana". The Antiguan and Barbudan Carnivals replaced the Old Time Christmas Festival in 1957, with hopes of inspiring tourism. In Argentina, the most representative Carnival performed is the so-called Murga, although other famous Carnivals, more like Brazil's, are held in Argentine Mesopotamia and the North-East. Gualeguaychú in the east of Entre Ríos Province is the most important Carnival city and has one of the largest parades. It adopts a musical background similar to Brazilian or Uruguayan Carnival. Corrientes is another city with a Carnival tradition. Chamamé is a popular musical style. In all major cities and many towns throughout the country, Carnival is celebrated. The Humahuaca Carnival is a popular celebration, which takes place at the beginning of Lent (40 days before Holy Week), in the Quebrada de Humahuaca area, Jujuy province, Argentina. As Carnival coincides with summer in the Southern Hemisphere, in many parts of Argentina children play with water. The 19th century tradition of filling empty egg shells with water has evolved into water games that include the throwing of water balloons. Carnival in Aruba means weeks of events that bring colourfully decorated floats, contagiously throbbing music, luxuriously costumed groups of celebrants of all ages, King and Queen elections, electrifying jump-ups and torchlight parades, the Jouvert morning: the Children's Parades, and finally the Grand Parade. Aruba's biggest celebration is a month-long affair consisting of festive "jump-ups" (street parades), spectacular parades, and creative contests. Music and flamboyant costumes play a central role, from the Queen elections to the Grand Parade. Street parades continue in various districts throughout the month, with brass band, steelpan and roadmarch tunes. On the evening before Lent, Carnival ends with the symbolic burning of King Momo. Junkanoo is the principal street parade in the Bahamas, it has been practiced in the Bahamas before and after the 1834 emancipation of slavery in the British Empire. The Bahamas announced the first Bahamas Junkanoo Carnival to commence in May 2015. Carnival in the Bahamas rivals various carnivals throughout the Caribbean in that it is a unique blend between the revered Junkanoo and traditional Carnival. This fairly new festival has been referred to as the ultimate celebration of everything Bahamian. "Crop Over" (formerly called "Harvest Home") is a traditional harvest festival celebrated in Barbados. Its early beginnings were on the sugar cane plantations during the colonial period. Crop Over began in 1688, and featured singing, dancing, and accompaniment by shak-shak, banjo, triangle, fiddle, guitar, bottles filled with water, and bones. Other traditions included climbing a greased pole, feasting, and drinking competitions. Originally signaling the end of the yearly cane harvest, it evolved into a national festival. In the late 20th century, Crop Over began to closely mirror the Trinidad Carnival. Beginning in June, Crop Over runs until the first Monday in August when it culminates in the finale, the Grand Kadooment. Crop Over time for many islanders is one big party. Craft markets, food tents/stalls, street parties, and cavalcades fill every week. A major feature is the calypso competition. Calypso music, originating in Trinidad, uses syncopated rhythm and topical lyrics. It offers a medium in which to satirise local politics, amidst the general bacchanal. Calypso tents, also originating in Trinidad, feature cadres of musicians who perform biting social commentaries, political exposés or rousing exhortations to "wuk dah waistline" and "roll dat bumper". The groups compete for the Calypso Monarch Award, while the air is redolent with the smells of Bajan cooking during the Bridgetown Market Street Fair. The Cohobblopot Festival blends dance, drama, and music with the crowning of the King and Queen of costume bands. Every evening the "Pic-o-de-Crop" Show is performed after the King of Calypso is finally crowned. The climax of the festival is Kadooment Day, celebrated with a national holiday, when costume bands fill the streets with pulsating Barbadian rhythms and fireworks. San Pedro is one of Belize's few cities to observe Carnaval before Lent. Elsewhere, Carnaval (sometimes referred to as Carnival) often occurs in September. The Fiesta de Carnaval is often the most popular celebration, usually held over three days prior to Ash Wednesday, but the festivities often extend to the full week. This festival "always includes music, dancing, costumes and parades". Comparsas are held throughout the week, consisting of large groups "of dancers dancing and traveling on the streets, followed by a Carrosa (carriage) where the musicians play. The Comparsa is a development of African processions where groups of devotees follow a given saint or deity during a particular religious celebration." One of the most popular comparsas of Fiesta de Carnaval is the male group comparsa, usually composed of notable men from the community who dress up in outlandish costumes or cross-dress and dance to compete for money and prizes. Other popular activities include body painting and flour fighting. "On the last day of Carnival painters flood the street to paint each other. This simply means that a mixture of water paint and water or raw eggs is used to paint people on the streets, the goal being to paint as many people as you can." Street fights often occur during the festivities – some locals treat this festival as an opportunity to exact revenge on their enemies. Vandalism is common and "businesses constantly have to prepare in covering or repainting their advertisements during Carnival season because of the mischief performed." The tradition continues despite critics who advocate the termination of these festivities. La Diablada Carnival takes place in Oruro in central Bolivia. It is celebrated in honor of the miners' patron saint, Vírgen de Socavon (the Virgin of the Tunnels). Over 50 parade groups dance, sing, and play music over a five kilometre-long course. Participants dress up as demons, devils, angels, Incas, and Spanish conquistadors. Dances include caporales and tinkus. The parade runs from morning until late at night, 18 hours a day, for three days before Ash Wednesday. It was declared the 2001 "Masterpieces of Oral Heritage and Intangible Heritage of Humanity" by UNESCO. Throughout the country, celebrations are held involving traditional rhythms and water parties. In Santa Cruz de la Sierra, on the east side of the country, tropical weather allows a Brazilian-type Carnival, with Comparsas dancing traditional songs in matching uniforms. The Carnival in Brazil (Portuguese: Carnaval) is a major part of Brazilian culture. The first expression of this festivity took place in Rio de Janeiro in 1641, with the préstitos, very similar to musical processions that were held on public streets when John IV of Portugal was crowned King. The street carnival of Rio de Janeiro is designated by Guinness World Records as the largest carnival in the world, with approximately two million people each day. Samba schools are large, social entities with thousands of members and a theme for their song and parade each year. In Rio Carnival, samba schools parade in the Sambadrome (sambódromo in Portuguese). Some of the most famous include GRES Estação Primeira de Mangueira, GRES Portela, GRES Acadêmicos do Salgueiro, GRES Imperatriz Leopoldinense, GRES Beija-Flor de Nilópolis, GRES Mocidade Independente de Padre Miguel, and recently, Unidos da Tijuca and GRES União da Ilha do Governador. Local tourists pay $500–950, depending on the costume, to buy a samba costume and dance in the parade. Blocos are small informal groups with a definite theme in their samba, usually satirizing the political situation. About 30 schools in Rio gather hundreds of thousands of participants. More than 440 blocos operate in Rio. Bandas are samba musical bands, also called "street carnival bands", usually formed within a single neighborhood or musical background. The Carnival industry chain amassed in 2012 almost US$1 billion in revenues. Recife is marked by the parade of the largest carnival block in the world, the Galo da Madrugada. This parade happens on the first Saturday of Carnival (Zé Pereira's Saturday), passes through downtown Recife, and has as symbol a giant rooster that is positioned on the Duarte Coelho Bridge. In this block, there is a great variety of musical genres, but Frevo is the most common one; it is typical of both Recife and Olinda, and is considered an Intangible Heritage of Humanity by Unesco.[citation needed] Salvador has large Carnival celebrations, including the Axé, a typical Bahia music. A truck with giant speakers and a platform, where musicians play songs of local genres such as Axé, samba-reggae, and Arrocha, drives through town with a crowd following while dancing and singing. It was originally staged by two Salvador musicians, Dodo & Osmar, in the 1950s. After the Salvador Carnival, Porto Seguro continues the celebration. Three circuits make up the festival. Campo Grande is the longest and most traditional. Barra-Ondina is the most famous, on the seaside of Pelourinho and the beaches Barra and Ondina. International singers like David Guetta, will.i.am, Psy, and Bob Sinclar have performed in Salvador. Ivete Sangalo, Claudia Leitte, Daniela Mercury, Margareth Menezes, Chiclete com Banana, and Banda Eva are some traditional attractions. The party officially lasts six days, but may go on for longer. Toronto Caribbean Carnival, held in Toronto on the first weekend of August to take advantage of more comfortable weather, has its origins in Caribbean Carnival traditions. Tourist attendance at the parade typically exceeds one million. The Quebec Winter Carnival is one of the biggest winter-themed Carnivals in the world. It depends on snowfall and very cold weather, to keep snowy ski trails in good condition and ice sculptures frozen. The carnival is held during the last days of January and first days of February. Most Caribbean islands celebrate Carnival. The largest and most well-known is in Trinidad and Tobago. Antigua, Aruba, Barbados, Bonaire, Cayman Islands, Cuba, Curaçao, Dominica, Dominican Republic, Grenada, Guadeloupe, Guyana, Haiti, Jamaica, Martinique, Puerto Rico, Saba, Sint Eustatius (Statia), Sint Maarten, Saint Lucia, Saint Kitts, Saint Thomas, U.S. Virgin Islands, Saint Vincent, and the Grenadines hold lengthy carnival seasons and large celebrations. Carnival is an important cultural event in the Dutch Caribbean. Festivities include "jump-up" parades with beautifully colored costumes, floats, and live bands, as well as beauty contests and other competitions. Celebrations include a middle-of-the-night j'ouvert (juvé) parade that ends at sunrise with the burning of a straw King Momo, cleansing sins and bad luck. On Statia, he is called Prince Stupid. Carnival has been celebrated in Cuba since the 18th century. Participants don costumes demonstrating the island's cultural and ethnic variety.[citation needed] Carnival was introduced by the Spaniards and incorporated elements from European cultures. It has managed to reinterpret traditions that belonged to Colombia's African and Amerindian cultures. Documentary evidence shows that Carnival existed in Colombia in the 18th century and had already been a cause for concern for colonial authorities, who censored the celebrations, especially in the main political centres such as Cartagena, Bogotá, and Popayán.[citation needed] The Carnival continued its evolution in small/unimportant towns out of view of the rulers. The result was the uninterrupted celebration of Carnival festivals in Barranquilla (see Barranquilla's Carnival), now recognized as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. The Barranquilla Carnival includes several parades on Friday and Saturday nights beginning on 11 January and ending with a six-day non-stop festival, beginning the Wednesday prior to Ash Wednesday and ending Tuesday midnight. Other celebrations occur in villages along the lower Magdalena River in northern Colombia, and in Pasto and Nariño (see Blacks and Whites' Carnival) in the south of the country. In the early 20th century, attempts to introduce Carnival in Bogotá were rejected by the government. The Bogotá Carnival was renewed in the 21st century.[citation needed] Carnival in Dominica is held in the capital city of Roseau, and takes elements of Carnival that can be seen in the neighboring French islands of Martinique and Guadeloupe, as well as Trinidad. Notable events leading up to Carnival include the Opening of Carnival celebrations, the Calypso Monarch music competition, the Queen of Carnival Beauty Pageant, and bouyon music bands. Celebrations last for the Monday and Tuesday before Ash Wednesday. Dominican Carnival is celebrated in most cities and towns in the main streets during February. Among its main characteristics are its flashy costumes and loud music. The one held in La Vega, which is one of the biggest in the country, and the national parade in Santo Domingo were where the first Carnival of the Americas was held. Carnival masks are elaborate and colorful. The costumes used on the parades are satires of the Devil and are called "Diablos Cojuelos". They dance, and run to the rhythm of merengue music mixed with techno, hip-hop, and reggaeton. Additional allegorical characters represent Dominican traditions such as "Roba la Gallina" and "Califé". One of the most international parades is in San Pedro de Macorís. It exhibits the "Guloyas" parade of costumed groups dancing in the streets. Revelers flee from the "Diablos Cojuelos" who try to hit them with "Vejigas". The timing of the festivals has grown apart from its original religious synchronization with the period of Lent. With National Independence Day on 27 February and the birthday of Juan Pablo Duarte, its founding father, on 26 January, the Carnival celebrations fill February regardless of the Lenten calendar. In Ecuador, the celebrations began before the arrival of Catholicism. The Huarangas Indians (from the Chimbos nation) used to celebrate the second moon of the year with a festival at which they threw flour, flowers, and perfumed water. This Indigenous tradition merged with the Catholic celebration of Carnival. A common feature of Ecuadorian Carnival is the diablitos (little devils) who play with water. As with snowball fights, the practice of throwing or dumping water on unsuspecting victims is revered by children and teenagers although feared by some adults. Throwing water balloons, sometimes even eggs and flour both to friends and strangers is fun, but can also upset the uninformed. Although the government as well as school authorities forbid such games, they are widely practiced. Historians tell of a bishop in 1867 who threatened excommunication for the sin of playing Carnival games.[citation needed] Festivals differ across the country. Locals wear disguises with colorful masks and dance. Usually, the celebrations begin with the election of Taita Carnival (Father Carnival) who heads the festivities and leads the parades in each city. The most famed Carnival festivities are in Guaranda (Bolivar province) and Ambato (Tungurahua province). In Ambato, the festivities are called Fiesta de las Flores y las Frutas (Festival of the Flowers and Fruits). Other cities have revived Carnival traditions with colorful parades, such as in Azogues (Cañar Province). In Azogues and the Southern Andes in general, Taita Carnival is always an Indigenous Cañari. Recently, a celebration has gained prominence in the northern part of the Andes in the Chota Valley in Imbabura which is a zone of a strong Afro-Ecuadorian population and so the Carnival is celebrated with bomba del chota music. Latacunga celebrates Carnival in three manners: Carnival with water where people play with water, religious Carnival where people make religious festivity, and Carnival parade in the city in which people march on the Latacunga streets wearing masks while they dance with music bands.[citation needed] The Carnival of French Guiana has roots in Creole culture. Everyone participates – mainland French, Brazilians (Guiana has a frontier with Brazil), and Chinese as well as Creoles. Its duration is variable, determined by movable religious festivals: Carnival begins at Epiphany and ends on Ash Wednesday, and so typically lasts through most of January and February. During this period, from Friday evening until Monday morning the entire country throbs to the rhythm of masked balls and street parades. Friday afternoons are for eating galette des rois (the cake of kings) and drinking champagne. The cake may be flavoured with frangipani, guava, or coconut.[citation needed] On Sunday afternoons, major parades fill the streets of Cayenne, Kourou, and Saint-Laurent du Maroni. Competing groups prepare for months. Dressed to follow the year's agreed theme, they march with Carnival floats, drums, and brass bands.[citation needed] Brazilian groups are appreciated for their elaborate feathered and sequined costumes. However, they are not eligible for competition since the costumes do not change over time.[citation needed] Mythical characters appear regularly in the parades:[citation needed] A uniquely Creole tradition are the touloulous. These women wear decorative gowns, gloves, masks, and headdresses that cover them completely, making them unrecognisable, even to the colour of their skin. On Friday and Saturday nights of Carnival, touloulou balls are held in so-called "universities", large dance halls that open only at Carnival time. Touloulous get in free, and are even given condoms in the interest of the sexual health of the community. Men attend the balls, but they pay admittance and are not disguised. The touloulous pick their dance partners, who may not refuse. The setup is designed to make it easy for a woman to create a temporary liaison with a man in total anonymity. Undisguised women are not welcomed. By tradition, if such a woman gets up to dance, the orchestra stops playing. Alcohol is served at bars – the disguised women whisper to the men "touloulou thirsty", at which a round of drinks is expected, to be drunk through a straw protect their anonymity.[citation needed] In more modern times, Guyanais men have attempted to turn the tables by staging soirées tololo, in which it is the men who, in disguise, seek partners from undisguised women bystanders.[citation needed] The final four days of Carnival follow a rigid schedule, and no work is done:[citation needed] The Mazatenango carnival is a two- or three-day celebration that has been celebrated in this city for more than a century. Though secular in nature, it takes place immediately before Christian Lent begins. Early celebrations included bull fights, and modern celebrations include the wearing of masks and costumes, the selection of an Ugly King and the Queen of the Carnival, dances, and a variety of games. Carnival in Haiti started in 1804 in the capital Port-au-Prince after the declaration of independence. The Port-au-Prince Carnival is one of the largest in North America. It is known as Kanaval in the Creole language. It starts in January, known as "Pre-Kanaval", while the main carnival activities begin in February. In July 2012, Haiti had another carnival called Kanaval de Fleur. Beautiful costumes, floats, Rara festival parades, masks, foods, and popular rasin music (such as Boukman Eksperyans, Foula Vodoule, Tokay, Boukan Ginen, and Eritaj) and kompa bands (such as T-Vice, Djakout No. 1, Sweet Micky, Kreyòl La, D.P. Express, Mizik Mizik, Ram, T-Micky, Carimi, Djakout Mizik, and Scorpio Fever) play for dancers in the streets of the plaza of Champ-de-Mars, Port-au-Prince. A song competition takes place.[citation needed] Other places in Haiti celebrate carnival, including Jacmel and Aux Cayes. In 2013, Kanaval was celebrated in Okap (Cap-Haïtien). Carnival finishes on Ash Wednesday, followed by rara festival, another parading musical tradition known mainly in Haiti and in the Dominican Republic. This festival emphasises religion. Songs are composed each year, and bands play bamboo tubes (vaksin) and homemade horns (konèt). Rara is also performed in Prospect and Central Park in summertime New York. In La Ceiba in Honduras, Carnival is held on the third or fourth Saturday of every May to commemorate San Isidro. It is the largest Carnival celebration in Central America. In Mexico, Carnaval is celebrated in about 225 cities and towns. The largest are in Mazatlán and the city of Veracruz, with others in Baja California and Yucatán. The larger city Carnavals employ costumes, elected queens, and parades with floats, but Carnaval celebrations in smaller and rural areas vary widely depending on the level of European influence during Mexico's colonial period. The largest of these is in Huejotzingo, Puebla, where most townspeople take part in mock combat with rifles shooting blanks, roughly based on the Battle of Puebla. Other important states with local traditions include Morelos, Oaxaca, Tlaxcala, and Chiapas. Carnaval of Campeche goes back 400 years, to 1582. On the Caribbean coast of Bluefields, Nicaragua, Carnival is better known as "Palo de Mayo" (or Mayo Ya!) and is celebrated every day of May. In Managua, it is celebrated for two days. There it is named Alegria por la vida ("Joy for Life") and features a different theme each year. Another festival in Managua celebrates patron saint Domingo de Guzman and lasts ten days. Traditionally beginning on Friday and ending on the Tuesday before Ash Wednesday, "los Carnavales", as Panamanians refer to the days of Carnival, are celebrated across the country. Carnival Week is especially popular in the sleepy town of Las Tablas. The population multiplies because of the opulent Carnival celebrations. Carnival celebrations in Panama City and almost all of the Azuero Peninsula are popular tourist attractions. Penonomé features a parade on the Rio Zarati as a unique Carnival event. The Panamanian Carnival is also popular because of the concerts featuring popular artists in the most visited areas. Concerts are often carried out during the night, and continue until the next morning. Carnival Week is a national holiday in Panama, with most businesses and government offices remaining closed during its duration, and with most Panamanians opting to go to the country's rural areas to participate on the Carnivals and visit their relatives. Carnivals in Panama also feature large repurposed fuel trucks that are used for soaking attendees through the use of firehoses that are controlled and directed by one or more people that stand in a platform that is mounted on top of the truck. This is known as "culecos" or "los culecos". Trucks get their water from nearby, government-approved rivers, and the water is tested for cleanliness before use. Culecos are often performed from 10 am to 3 pm, when the sun is at its brightest. Children and pregnant women are banned from participating in the culecos, and the trucks are always sponsored by a well-known Panamanian company or brand. The culecos are also often accompanied by reggaeton concerts. The open consumption of large amounts of cold, low-alcohol beer or Smirnoff, stored in ice-filled coolers, is common among attendees. Just like in Rio de Janeiro, some carnivals also feature floats, but they may have young women with elaborate costumes that stand as the "Queens" of "Calle Arriba" and "Calle Abajo", representing rich and working-class people, respectively. The queens are chosen through a contest and announced on October of the previous year, and are replaced every year. The queens are introduced on the first carnival day, and are always accompanied by a music band, who are present whenever the queens are present. Fireworks are launched on the last carnival night, to signal the end of the carnival. The town of Cajamarca is considered the capital of Carnival in Peru. Local residents of all ages dance around the unsha, or yunsa, a tree adorned with ribbons, balloons, toys, fruits, bottles of liquor, and other prizes. At a certain point, the Mayordomo (governor of the feast) walks into the circle. The governor chooses a partner to go to the unsha, which they attempt to cut down by striking it three times with a machete. The machete is passed from couple to couple as each strikes the tree three times. When the unsha finally falls, the crowd rushes to grab the prizes.[citation needed] The person who successfully brings down the unsha becomes the following year's governor. While generally peaceful, there have been issues with people using Carnival as a pretext for crime, particularly robbery or vandalism, especially in certain areas of Lima. In Trinidad and Tobago, Carnival lasts months and culminates in large celebrations on the three days before Ash Wednesday with Dimanche Gras, J'ouvert, and Mas (masquerade). Tobago's celebration culminates on Monday and Tuesday on a much smaller scale, however Tobago hosted its inaugural standalone carnival on October 28–30, 2022 Carnival combines costumes, dance, music, competitions, rum, and partying (fete-ing). Music styles include soca, calypso, rapso, and more recently chutney and chutney soca. The annual Carnival steel pan competition known as the National Panorama competition holds the finals on the Saturday before the main event. Pan players compete in categories such as "Conventional Steel Band" or "Single Pan Band" by performing renditions of the year's calypsos. "Dimanche Gras" takes place on the Sunday night before Ash Wednesday. Here the Calypso Monarch is chosen (after competition) and prize money and a vehicle awarded. The King and Queen of the bands are crowned, where each band parades costumes for two days and submits a king and queen, from which an overall winner is chosen. These usually involve huge, complex, beautiful well-crafted costumes, that includes 'wire-bending'. J'ouvert, or "Dirty Mas", takes place before dawn on the Monday (known as Carnival Monday) before Ash Wednesday. It means "opening of the day". Revelers dress in costumes embodying puns on current affairs, especially political and social events. "Clean Mud" (clay mud), oil paint and body paint are familiar during J'ouvert. A common character is "Jab-jabs" (devils, blue, black, or red) complete with pitchfork, pointed horns and tails. A King and Queen of J'ouvert are chosen, based on their witty political/social messages. Carnival Monday involves the parade of the mas bands. Revelers wear only parts of their costumes, more for fun than display or competition. Monday Night Mas is popular in most towns and especially the capital, where smaller bands compete. There is also the "Bomb Competition", a smaller-scaled judging of steel bands.[citation needed] Carnival Tuesday hosts the main events. Full costume is worn, complete with make-up and body paint/adornment. Usually "Mas Boots" that complement the costumes are worn. Each band has their costume presentation based on a particular theme, and contains various sections (some consisting of thousands of revelers) that reflect these themes. The street parade and band costume competition take place. The mas bands eventually converge on the Queen's Park Savannah to pass on "The Stage" for judging. The singer of the most played song is crowned Road March King or Queen, earning prize money and usually a vehicle.[citation needed] This parading and revelry goes on until Tuesday midnight. Ash Wednesday itself, while not an official holiday, sends flocks to local beaches. The most popular are Maracas Beach and Manzanilla Beach, where huge beach parties take place on Ash Wednesday.[citation needed] Carnival celebrations, usually referred to as Mardi Gras ("Fat Tuesday" in French), were first celebrated in the Gulf Coast area, but now occur in many states. Customs originated in the onetime French colonial capitals of Mobile (now in Alabama), New Orleans (Louisiana), and Biloxi (Mississippi), all of which have celebrated for many years with street parades and masquerade balls. Other major American cities with celebrations include Washington, D.C.; St. Louis, Missouri; San Francisco and San Diego, California; Galveston, Texas; and Pensacola, Tampa,Orlando, and Miami in Florida. The most widely known, elaborate, and popular U.S. events are in New Orleans, where krewes organize parades, balls, and other activities starting with Phunny Phorty Phellows streetcar parade on Twelfth Night and ending with the closing of Bourbon Street at midnight on Fat Tuesday. It is often called "the greatest free party on earth". Many other Louisiana cities such as Lake Charles, Baton Rouge, Shreveport, Lafayette, Mamou, Houma, and Thibodaux, most of which were under French control at one time or another, also hold Carnival celebrations. On the prairie country northwest of Lafayette, Louisiana, the Cajuns celebrate the traditional Courir de Mardi Gras, which has its roots in celebrations from rural Medieval France. In Puerto Rico, the most popular festivals are the Carnaval de Loíza and Carnaval de Ponce. The Carnaval de Ponce (officially "Carnaval Ponceño") is celebrated annually in Ponce. The celebration lasts one week and ends on the day before Ash Wednesday. It is one of the oldest carnivals of the Western Hemisphere, dating to 1858. Some authorities trace the Ponce Carnaval to the eighteenth century. In New York City, a Caribbean Carnival known as the West Indian Day Parade is held in Crown Heights, Brooklyn on Labor Day. Founded by immigrants from Trinidad, the event was initially held at the beginning of Lent, but was later moved to Labor Day in order to allow an outdoor event in the summer. Starting in 2013, the Slovenian-American community located in the St. Clair-Superior neighborhood of Cleveland began hosting a local version of Kurentovanje, the Carnival event held in the city of Ptuj, Slovenia. The event is conducted on the Saturday prior to Ash Wednesday. The Carnival in Uruguay lasts more than 40 days, generally beginning towards the end of January and running through mid March. Celebrations in Montevideo are the largest. The festival is performed in the European parade style with elements from Bantu and Angolan Benguela cultures imported with slaves in colonial times. The main attractions of Uruguayan Carnival include two colorful parades called Desfile de Carnaval (Carnival Parade) and Desfile de Llamadas (Calls Parade, a candombe-summoning parade). During the celebration, theaters called tablados are built in many places throughout the cities, especially in Montevideo. Traditionally formed by men and now starting to be open to women, the different Carnival groups (Murgas, Lubolos, or Parodistas) perform a kind of popular opera at the tablados, singing and dancing songs that generally relate to the social and political situation. The 'Calls' groups, basically formed by drummers playing the tamboril, perform candombe rhythmic figures. The carnival in Uruguay have escolas de samba too, and the biggest samba parades are in Artigas and in Montevideo. Revelers wear their festival clothing. Vedettes, exuberant women wearing elegant, bright dresses, are also part of the parades.[citation needed]. Each group has its own theme. European archetypes (Pierrot, Harlequin, and Columbina) merge with African ancestral elements (the Old Mother or Mama Vieja, the Medicine Man or Gramillero and the Magician or Escobero) in the festival. Carnival in Venezuela covers two days, 40 days before Easter. It is a time when youth in many rural towns have water fights (including the use of water balloons and water guns). Any pedestrian risks getting soaked. Coastal towns and provinces celebrate Carnival more fervently than elsewhere in the country. Venezuelans regard Carnival about the same way they regard Christmas and Semana Santa (Holy Week; the week before Easter Sunday) when they take the opportunity to visit their families. In India, Carnival is celebrated only in the state of Goa and was originally a local Roman Catholic tradition known as Intruz which means "swindler" in Konkani while Entrudo is the appropriate word in Portuguese for "Carnival". The present commercial version of the Goan carnival (King Momo, floats, etc.) was created based on the Rio Carnival only in the 1960s as a means of attracting tourism. The largest celebration takes place in the capital Panaji. The commercial Carnival festivities occur during the three days and nights preceding Ash Wednesday. Sixtus Eric Dias from Candolim was the King Momo for the Carnival 2021. All-night parades occur throughout the state with bands, dances, and floats. Grand balls are held in the evenings. In Indonesia, the word "carnival" or karnaval is not related to pre-Lent festivities, but more to festivals in general, especially those with processions and extravagant costumes. One of the largest carnivals in Indonesia is the Solo Batik Carnival, held in Solo, Central Java. The Jember Fashion Carnaval is held in Jember, East Java. The Roman Catholic community of Kupang, East Nusa Tenggara, held an Easter procession in form of an Easter Carnival called Pawai Paskah Kupang. In the Philippines, the Manila Carnival (Philippine Spanish: Carnaval de Manila) was formerly a major annual event in Manila during the early American colonial period up to the time before the Second World War. It was organized by the American colonial administration to showcase the economic development of the Philippines. The highlight of the event is the crowning of the Carnival Queens, which is the precursor of later national pageants like Miss Philippines. It is also notable for founding and hosting the first Far Eastern Championship Games (then known as the "First Oriental Olympic Games") which became the precursor of the modern Asian Games. The carnival lasted around two weeks in which a variety of shows were presented like circus, vaudeville, slapstick comedies, and theater. Five parades were also held, an opening parade, a military parade, a school parade, a business and industry parade (which included foreign participants), and the floral parade (which featured the Carnival Queen winner). The carnival was first held in February 1908 and was initially only a city celebration. It expanded to a national scope by 1912, the year that it was held concurrently with the Philippine Exposition. It was discontinued in 1939, due to the outbreak of the Second World War. It was also not held during the Japanese occupation of the Philippines (1941 to 1944). After Philippine independence in 1946, it was never renewed. In the modern Philippines, thousands of annual festivals and fiestas throughout the islands feature public celebrations and street parade competitions with elaborate costumes similar to the carnival. However, they are not tied to the Lenten period and are instead celebrations of a Catholic patron saint, of the local culture, or both. Carnivals have begun to be celebrated in Korça before 1940, a period in which cultural life in this city has been varied. Although a pagan holiday, the Carnival was later celebrated on Feast Day in February. In addition to the many carnival-wearing individuals, there were bands with guitars, bows, and butaphoric[check spelling] masks such as animal heads and humans. The Korça Carnival took a big hit after the creation of cultural societies such as the "Korça Youth". During this period carnivals were accompanied by mandolins, guitars and humorous songs. Carnival celebrations were discontinued after 1960, to resume in other social conditions after 1990. Korça is one of the first cities to revive the Carnival tradition by establishing the Carnival Association in 1992 as part of the National Carnival Association of Albania. On 10 April 1994, the first International Carnival Festival in Albania was organized in Korça. The following year, the second International Carnival Festival is even larger. Since this year and until 2008, the Korca Carnival group has been represented at a number of international festivals organized in various European countries. Many parts of Belgium celebrate Carnival, typically with costume parades, partying and fireworks. These areas include the province of Limburg with its cities Maasmechelen, Maaseik and Lanaken along the river Meuse, the cities of Aalst, Ninove, Binche, Eupen, Halle, Heist, Kelmis, Malmedy, and Stavelot. The Carnival of Binche dates at least to the 14th century. Parades are held over the three days before Lent; the most important participants are the Gilles, who wear traditional costumes on Shrove Tuesday and throw blood oranges to the crowd. In 2003, the Carnival of Binche was recognised as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. The Carnival of Aalst, celebrated during the three days preceding Ash Wednesday, received the same recognition in 2010. Belgium's oldest parade is the Carnival Parade of Maaseik, also held on Laetare Sunday, which originated in 1865. The Carnival of Malmedy is locally called Cwarmê. Even if Malmedy is located in the east Belgium, near the German-speaking area, the Cwarmê is a pure Walloon and Latin carnival. The celebration takes place during the four days before Shrove Tuesday. The Cwarmê Sunday is the most important and interesting to see. All the old traditional costumes parade in the street. The Cwarmê is a "street carnival" and is not only a parade. People who are disguised pass through the crowd and perform a part of the traditional costume they wear. The famous traditional costumes at the Cwarmê of Malmedy are the Haguète, the Longuès-Brèsses, and the Long-Né. Some Belgian cities hold Carnivals during Lent. One of the best-known is Stavelot, where the Carnival de la Laetare takes place on Laetare Sunday, the fourth Sunday of Lent. The participants include the Blancs-Moussis, who dress in white, carry long red noses and parade through town attacking bystanders with confetti and dried pig bladders. The city of Halle also celebrates on Laetare Sunday. In Bosnia and Herzegovina, the Croat-majority city of Ljubuški holds a traditional Carnival (Bosnian: Karneval). Ljubuški is a member of the Federation of European Carnival Cities (FECC). The most famous Croatian Carnival (Croatian: karneval, also called maškare or fašnik) is the Rijeka Carnival, during which the mayor of Rijeka hands over the keys to the city to the Carnival master (meštar od karnevala). The festival includes several events, culminating on the final Sunday in a masked procession. (A similar procession for children takes place on the previous weekend.)[citation needed] Many towns in Croatia's Kvarner region (and in other parts of the country, e.g. in Međimurje County in Northern Croatia) observe the Carnival period, incorporating local traditions and celebrating local culture. Some of the towns and places are Grobnik, Permani, Kastav and many others places near Rijeka, then Čakovec, Samobor etc. Just before the end of Carnival, every Kvarner town burns a man-like doll called a "Pust", who is blamed for all the strife of the previous year. The Zvončari, or bell-ringers push away winter and all the bad things in the past year and calling spring, they wear bells and large head regalia representing their areas of origin (for example, those from Halubje wear regalia in the shape of animal heads). The traditional Carnival food is fritule, a pastry. This festival can also be called Poklade.[citation needed] Masks are worn to many of the festivities, including concerts and parties. Children and teachers are commonly allowed to wear masks to school for a day, and also wear masks at school dances or while trick-or-treating. Carnivals also take place in summer. One of the most famous is the Senj Summer Carnival – first celebrated in 1968. The towns of Cres, Pag, Novi Vinodolski, and Fužine also organise Summer Carnivals.[citation needed] Carnival has been celebrated in Cyprus for centuries. The tradition was likely established under Venetian rule around the 16th century. It may have been influenced by Greek traditions, such as festivities for deities such as Dionysus. The celebration originally involved dressing in costumes and holding masked balls or visiting friends. In the twentieth century, it became an organized event held during the 10 days preceding Lent (according to the Greek Orthodox calendar). The festival is celebrated almost exclusively in the city of Limassol.[citation needed] Three main parades take place during Carnival. The first is held on the first day, during which the "Carnival King" (either a person in costume or an effigy) rides through the city on his carriage. The second is held on the first Sunday of the festival, and the participants are mainly children. The third and largest takes place on the last day of Carnival and involves hundreds of people walking in costume along the town's longest avenue. The latter two parades are open to anyone who wishes to participate.[citation needed] In the Czech Republic, the Masopust Festival takes place from Epiphany (Den tří králů) through Ash Wednesday (Popeleční středa). The word masopust translates literally from old Czech to mean "meat fast", and the festival often includes a pork feast. The tradition is most common in Moravia but also occurs in Bohemia. While practices vary, masks and costumes are present everywhere. Carnival in Denmark is called Fastelavn, and is held on the Sunday or Monday before Ash Wednesday. The holiday is sometimes described as a Nordic Halloween, with children dressing in costume and gathering treats for the Fastelavn feast. One popular custom is the fastelavnsris, a switch that children use to flog their parents to wake them up on Fastelavns Sunday. In Norway, students having seen celebrations in Paris introduced Carnival processions, masked balls, and Carnival balls to Christiana in the 1840s and 1850s. From 1863, the artist federation Kunstnerforeningen held annual Carnival balls in the old Freemasons lodge, which inspired Johan Svendsen's compositions Norsk Kunstnerkarneval and Karneval in Paris. The following year, Svendsen's Festpolonaise was written for the opening procession. Edvard Grieg attended and wrote "Aus dem Karneval" (Folkelivsbilleder Op. 19). Since 1988, the student organization Tårnseilerne [no] has produced annual masquerade balls in Oslo, with masks, costumes, and processions after attending an opera performance. The Carnival season also includes Fastelavens søndag (with cream buns) and fastelavensris with decorated branches. The Helsinki Samba Carnaval, modelled after the samba carnivals in Brazil, takes place every year in middle June. The carnival lacks a proper historical tradition and has instead mostly grown from experimenting. Some major Carnivals of mainland France are the Nice Carnival, the Dunkirk Carnival and the Limoux Carnival. The Nice Carnival was held as far back as 1294, and annually attracts over a million visitors during the two weeks preceding Lent. Since 1604, a characteristic masked Carnival is celebrated in Limoux. The Dunkirk Carnival is among the greatest and most exuberant carnivals celebrated in Europe. Its traditions date back to the 17th century and are based on the vischerbende as fishermen went from one café to another accompanied by their relatives and friends just before departing to Icelandic fishing grounds. In the French West Indies, it occurs between the Sunday of Epiphany and Ash Wednesday; this dates back to the arrival of French colonists in the islands. The earliest written record of Carnival in Germany was in 1296 in Speyer. The first worldwide Carnival parade took place in Cologne in 1823. The most active Carnival week begins on the Thursday before Ash Wednesday, with parades during the weekend, and finishes the night before Ash Wednesday, with the main festivities occurring around Rosenmontag (Rose Monday). This time is also called the "Fifth Season". Shrove Tuesday, called Fastnacht or Veilchendienstag, is celebrated in some cities. Parties feature self-made and more fanciful costumes and occasional masks. The parties become more exuberant as the weeks progress and peak after New Year, in January and February. The final Tuesday features all-night parties, dancing, hugging, and smooching. Some parties are for all, some for women only and some for children. Fasnachtsküchle (similar to Kreppel or donuts) are the traditional Fasching food and are baked or fried.[citation needed] In Germany, Rheinischer Karnival and Schwäbische Fastnacht are distinct; first is less formal and more political, second is much more traditional. The "Rheinische" Carnival is held in the west of Germany, mainly in the states of North Rhine-Westphalia and Rhineland-Palatinate, but also in Hesse (including Upper Hesse). Similar forms of the festival occur in Bavaria, and other states. Some cities are more famous for celebrations such as parades and costume balls. The Cologne Carnival, as well as those in Mainz, Eschweiler and Düsseldorf, are the largest and most famous. Other cities have their own, often less well-known celebrations, parades, and parties, such as Aachen, Bonn, Worms am Rhein, Speyer, Kaiserslautern, Frankfurt, Darmstadt, Duisburg, Dortmund, Essen, Mannheim, Münster, Krefeld, Ludwigshafen, Mönchengladbach, Stuttgart, Augsburg, Munich, and Nuremberg. The biggest German carnival club is located in the relatively small town of Dieburg in South Hesse. Festivities start as early as 11 November at 11:11am for some carnival organizations, but the main events usually take place after the Christmas season. On Carnival Thursday (called "Old Women Day" or "The Women's Day" in commemoration of an 1824 revolt by washer-women), women storm city halls, cut men's ties, and are allowed to kiss any passing man. Special acrobatic show dances in mock uniforms are a traditional contribution to most festive balls. They may or may not have been a source of inspiration to American cheerleading. The Fasching parades and floats make fun of individual politicians and other public figures. Many speeches do the same. Traditions often also include the "Faschingssitzung" – a sit-only party with dancing and singing presentations, and often many speeches given that humorously criticize politics. The Swabian-Alemannic Fastnacht, known as Schwäbische Fastnacht, takes place in Baden, Swabia, the Allgäu, Alsace, and Vorarlberg (western Austria). During the pagan era, it represented the time of year when the reign of the grim winter spirits is over, and these spirits are hunted and expelled. It then adapted to Catholicism. The first official record of Karneval, Fasching or Fastnacht in Germany dates to 1296. Often the costumes and masks on parades strictly follow traditional designs and represent specific historical characters, public figures – or specific daemons. In Switzerland, Fasnacht takes place in the Catholic cantons of Switzerland, e.g. in Lucerne (Lozärner Fasnacht), but also in Protestant Basel. However, the Basler Fasnacht begins on the Monday after Ash Wednesday. Both began in the Late Middle Ages. Smaller Fasnacht festivities take place across German Switzerland, e.g. in Bern and Olten, or in the eastern part (Zürich, St. Gallen, Appenzell).[citation needed] In Greece, Carnival is known as Apókries (Απόκριες, lit. '[goodbye] to meat'), and officially begins with the "Opening of the Triodion", the liturgical book used by the Orthodox Church from then until Holy Week. Apokries is made up of three themed weeks of celebration known as Prophoní (Προφωνή, 'preannouncement week'), Kreatiní (Κρεατινή, 'meat week'), and Tiriní (Τυρινή, 'cheese week'). One of the season's high points during Kreatini is Tsiknopémpti (lit. 'Smoky-Thursday'), when celebrants throw large outdoor parties and roast huge amounts of meat; the ritual is repeated the following Sunday, after which point meat is forbidden until Easter. The following week, Tirini, is marked by similar festivities revolving around the consumption of cheese, eggs, and dairy and culminates with a "Cheese Sunday". Great Lent, and its restrictive fasting rules, begins in earnest the next day on Clean Monday. Throughout the Carnival season, festivals, parades, and balls are held all over the country. Many people disguise themselves as maskarádes ("masqueraders") and engage in pranks and revelry throughout the season. Patras holds the largest annual Carnival in Greece, and one of the largest in the world. The famous Patras Carnival is a three-day spectacle replete with concerts, theatre performances, parading troupes, an elaborate treasure hunt game, three major parades, parallel celebrations specifically for children, and many masquerade balls including the famous Bourboúlia (Μπουρμπούλια) ball in which women wear special robe-like costumes called a dómino to hide their identy. The festivities come to a crescendo on "Cheese Sunday" when The Grand Parade of troupes and floats leads celebrators to the harbor for the ceremonial burning of the effigy of King Carnival. The Carnival in Corfu is much influenced by the Carnival of Venice. During this period, various theatrical sketches are presented on the island, called Petególia or Petegolétsa (Πετεγολέτσα) in the local dialect. In previous centuries, existed also the custom of "Giostra" (jousting). The second biggest Carnival in Greece takes place in Xanthi (Eastern Macedonia and Thrace) since 1966 and it is the major event of its kind in Northern Greece. The Xanthi Carnival manages to attract visitors from the nearby countries such as Bulgaria, Turkey, and Romania. Other regions host festivities of smaller extent, focused on the reenactment of traditional carnival customs, such as Tyrnavos (Thessaly), Kozani (Western Macedonia), Rethymno (Crete). Tyrnavos holds an annual Phallus festival, a traditional "phallkloric" event in which giant, gaudily painted effigies of phalluses made of papier-mâché are paraded, and which women are asked to touch or kiss. Their reward for so doing is a shot of the famous local tsipouro alcohol spirit. Every year, from the 1st to the 8th of January, mostly in regions of Western Macedonia, traditional Carnival festivals erupt. Best known of these is the Ragoutsária (Ραγκουτσάρια) festival in the city of Kastoria whose celebration may date back to antiquity and whose name derives from the Latin word rogatores 'beggars', in reference to the beggars who could mingle with the rich in their masks. It takes place from 6–8 January with mass participation and is noted for its brass bands, flutes, and Macedonian drums. It is an ancient celebration of nature's rebirth akin to ancient festivals for Dionysus (Dionysia) and Kronos (Saturnalia). Carnival season called "Farsang" in Hungarian happens between Epiphany (January 6) and Shrove Tuesday and is the time when costume parties traditionally take place, primarily for children (similar to Halloween). In Mohács, Hungary, the Busójárás is a celebration held at the end of the Carnival season. It involves locals dressing in woolly costumes, with scary masks and noise-makers. According to legend, the festival celebrates both the conclusion of the winter season and a victory by the local people over invading Ottomans in 1526. Carnival in Italy is a farewell party to eat, drink, and have fun before the limitations and solemnity of Lent. About a month before Ash Wednesday, Italians celebrate over many weekends with parades, masks, and confetti. The origins of this event may be traced to ancient Greece and Rome, when they worshipped Bacchus and Saturn. Some think they date back to archaic winter-to-spring ceremonies. Despite its pagan origins, the event was so extensively celebrated and the tradition so powerful that it was swiftly altered to fit into Catholic rituals. Carnival in Italy is traditionally celebrated on Fat Tuesday, but the weekend prior features activities as well. Carnival traditions vary across Italy. In the Ambrosian rite regions around Milan, Carnival ends on the first Sunday of Lent. The Carnival of Venice and Carnival of Viareggio are particularly renowned, featuring sophisticated masquerades and parades. In Sardinia, a distinct carnival form survives, possibly rooted in pre-Christian winter rituals of awakening the earth. These Carnivals include masquerades and parades. The Carnival in Venice was first documented in 1296, with a proclamation by the Venetian Senate announcing a public festival the day before the start of Lent. Its subversive nature is reflected in Italy's many laws over the centuries attempting to restrict celebrations and the wearing of masks. Carnival celebrations in Venice were halted after the city fell under Austrian control in 1798, but were revived in the late 20th century. The Carnival of Viareggio is the second-most popular in Italy. It lasts a month with night and day celebrations, floats, parades, district celebrations, masked dances, and other shows. The first masquerade took place in 1873, in response to the upper classes' dissatisfaction with having to pay hefty taxes. Thousands of travelers go to Italy for parades, Carnival masks and costumes, concerts, and music.In 2001, the town built a new "Carnival citadel" dedicated to Carnival preparations and entertainment. The Carnival of Ivrea is famous for its "Battle of the Oranges" fought with fruit between the people on foot and the troops of the tyrant on carts, to remember the wars of the Middle Ages, allegory of struggle for freedom. It is considered one of the most ancient Carnivals in the world. The fight commemorates Ivrea's rebellion against tyrannical rule in the Middle Ages. The miller's daughter, "la Mugnaia", allegedly killed the city's dictator after he tried to kidnap her, sparking an uprising that gave the inhabitants more freedom. Ivrea's Carnival celebration now includes parades in medieval costumes, folkloric ensembles, and musical performances from Italy and Europe. A bean soup, fagiolata, is associated with the festival. The Ambrosian Rite (Italian: rito ambrosiano) is a Latin liturgical rite of the Catholic Church and the Eastern Orthodox Church (specifically The Divine Liturgy of Saint Ambrose). The rite is named after Saint Ambrose, a bishop of Milan in the fourth century. It is used by around five million Catholics in the greater part of the Archdiocese of Milan (excluding Monza, Treviglio and Trezzo sull'Adda), in some parishes of the Diocese of Como, Bergamo, Novara, Lodi, in the Diocese of Lugano, Canton of Ticino, Switzerland, less prominently in some Western Rite orthodox parishes and on special occasions of other jurisdictions. In the most part of the Archdiocese of Milan, the Carnival lasts four more days, ending on the Saturday after Ash Wednesday, because of the Ambrosian Rite. In Sardinia, the Carnival (in Sardinian language Carrasecare or Carrasegare) varies greatly from the one in the mainland of Italy. the majority of the Sardinian celebrations features not only feasts and parades but also crude fertility rites such as bloodsheds to fertilize the land, the death and the resurrection of the Carnival characters and representations of violence and torture. The typical characters of the Sardinian Carnival are zoomorphic and/or androgynous, such as the Mamuthones and Issohadores from Mamoiada, the Boes and Merdules from Ottana and many more. The Carnival is celebrated with street performances that are typically accompanied by Sardinian dirges called attittidus, meaning literally "cry of a baby when the mother doesn't want nursed him/her anymore" (from the word titta meaning breasts). Other particular and important Carnival instances in Sardinia are the Sartiglia in Oristano and the Tempio Pausania Carnival. Užgavėnės is a Lithuanian festival that takes place on Shrove Tuesday. Its name in English means "the time before Lent". The celebration corresponds to Carnival holiday traditions. Užgavėnės begins on the night before Ash Wednesday, when an effigy of winter (usually named Morė) is burnt. A major element symbolizes the defeat of winter in the Northern Hemisphere. It is a staged battle between Lašininis ("porky") personifying winter and Kanapinis ("hempen man") personifying spring. Devils, witches, goats, the grim reaper, and other joyful and frightening characters appear in costumes during the celebrations. Eating pancakes is an important part of the celebration. Eating pancakes during Užgavėnės is a traditional practice symbolizing the sun's return and the anticipation of a bountiful harvest, aligning with the festival's theme of bidding farewell to winter and welcoming spring. In Luxembourg, the pre-Lenten holiday season is known as Fuesend. Throughout the Grand-Duchy, parades and parties are held. Pétange is the home of the Grand-Duchy's largest pre-Lenten Karneval celebration. Annually hosting a cavalcade with roughly 1,200 participants and thousand of celebrants, the official name is Karneval Gemeng Péiteng or "Kagepe" (the initials in Luxembourgish are pronounced "Ka", "Ge" and "Pe").[citation needed] The town of Remich holds a three-day-long celebration, notable for two special events in addition to its parades. The first is the Stréimännchen, which is the burning of a male effigy from the Remich Bridge that crosses the Moselle River separating the Grand Duchy from Germany. The Stréimännchen symbolizes the burning away of winter. The other special event at the Remich Fuesend celebrations is the Buergbrennen or bonfire that closes the celebration. Like Remich, the town of Esch-sur-Alzette holds a three-day celebration. Other major Fuesend parades in Luxembourg are held in the towns of Diekirch and Schifflange. Carnival in Malta (Maltese: il-Karnival ta' Malta) was introduced to the islands by Grand Master Piero de Ponte in 1535. It is held during the week leading up to Ash Wednesday, and typically includes masked balls, fancy dresses, and grotesque mask competitions, lavish late-night parties, a colourful, ticker-tape parade of allegorical floats presided over by King Carnival (Maltese: ir-Re tal-Karnival), marching bands, and costumed revellers. The largest celebration takes place in and around the capital city of Valletta and Floriana; several more "spontaneous" Carnivals take place in more remote areas. The Nadur Carnival is notable for its darker themes. In 2005, the Nadur Carnival hosted the largest-ever gathering of international Carnival organizers for the FECC's global summit.[citation needed] Traditional dances include the parata, a lighthearted re-enactment of the 1565 victory of the Knights Hospitaller over the Turks, and an 18th-century court dance known as il-Maltija. Carnival food includes perlini (multi-coloured, sugar-coated almonds) and the prinjolata, which is a towering assembly of sponge cake, biscuits, almonds, and citrus fruits, topped with cream and pine nuts.[citation needed] Carnival in the Netherlands is called Carnaval, Vastenavond ("Eve of Lent") or, in Limburgish, Vastelaovend(j), and is mostly celebrated in traditionally Catholic regions, particularly in the southern provinces of North Brabant and Limburg, but also in Overijssel, especially in Twente. While Dutch Carnaval is officially celebrated on the Sunday through Tuesday preceding Ash Wednesday, since the 1970s the feast has gradually started earlier and generally includes now the preceding weekend. Although traditions vary from town to town, Dutch carnaval usually includes a parade, a "Prince Carnival" plus cortège ("Council of 11", sometimes with a Jester or Adjutant), sometimes also the handing over by the mayor of the symbolic keys of the town to Prince Carnival, the burning or burial of a symbolic figure, a peasant wedding (boerenbruiloft), and eating herring (haring happen) on Ash Wednesday.[citation needed] Two main variants can be distinguished: the Rhineland carnaval, found in the province of Limburg, and the Bourgondische carnaval, found mainly in North Brabant. Maastricht, Limburg's capital, holds a street carnaval that features elaborate costumes. The first known documentation dates from the late 8th century (Indiculus superstitionum et paganiarum), but Carnaval was already mentioned during the First Council of Nicaea in 325 and by Caesarius of Arles (470–542) around 500 CE. In the Netherlands itself, the first documentation is found in 1383 in 's-Hertogenbosch. The oldest-known images of Dutch Carnaval festivities date from 1485, also in 's-Hertogenbosch.[citation needed] Normal daily life comes to a stop for about a week in the southern part of the Netherlands during the carnival, with roads temporary blocked and many local businesses closed for the week as a result of employees who are en masse taking the days off during and the day after the carnival. The most popular Carnivals in North Macedonia are in Vevčani and Strumica. The Vevčani Carnival (Macedonian: Вевчански Kарневал, translated Vevchanski Karneval) has been held for over 1,400 years, and takes place on 13 and 14 January (New Year's Eve and New Year's Day by the old calendar). The village becomes a live theatre where costumed actors improvise on the streets in roles such as the traditional "August the Stupid". The Strumica Carnival (Macedonian: Струмички Карневал, translated Strumichki Karneval) has been held since at least 1670, when the Turkish author Evlija Chelebija wrote while staying there, "I came into a town located in the foothills of a high hillock and what I saw that night was masked people running house–to–house, with laughter, scream and song." The Carnival took an organized form in 1991; in 1994, Strumica became a member of FECC and in 1998 hosted the XVIII International Congress of Carnival Cities. The Strumica Carnival opens on a Saturday night at a masked ball where the Prince and Princess are chosen; the main Carnival night is on Tuesday, when masked participants (including groups from abroad) compete in various subjects. As of 2000, the Festival of Caricatures and Aphorisms has been held as part of Strumica's Carnival celebrations. The Polish Carnival season includes Fat Thursday (Polish: Tłusty Czwartek), when pączki (doughnuts) are eaten, and Śledzik (Shrove Tuesday) or Herring Day. The Tuesday before the start of Lent is also often called Ostatki (literally "leftovers"), meaning the last day to party before the Lenten season. The traditional way to celebrate Carnival is the kulig, a horse-drawn sleigh ride through the snow-covered countryside. In modern times, Carnival is increasingly seen as an excuse for intensive partying and has become more commercialized, with stores offering Carnival-season sales. Carnival is Carnaval in Portugal, celebrated throughout the country, most famously in Ovar, Sesimbra, Madeira, Loulé, Nazaré, Mealhada, and Torres Vedras. Carnaval in Podence and Lazarim incorporates pagan traditions such as the careto, while the Torres Vedras celebration is probably the most typical. On the islands of the Azores, local clubs and Carnival groups create colorful and creative costumes that jab at politics or culture. On São Miguel Island, Carnival features street vendors selling fried dough, called a malassada. The festival on the biggest island starts off with a black tie grand ball, followed by Latin music at Coliseu Micaelense. A children's parade fills the streets of Ponta Delgada with children from each school district in costume. A massive parade continues past midnight, ending in fireworks. The event includes theatre performances and dances. In the "Danças de Entrudo", hundreds of people follow the dancers around the island. Throughout the show the dancers act out scenes from daily life. The "Dances de Carnival" are allegorical and comedic tales acted out in the streets. The largest is in Angra do Heroísmo, with more than 30 groups performing. More Portuguese-language theatrical performances occur there than anywhere else. Festivities end on Ash Wednesday, when locals sit down for the "Batatada" or potato feast, in which the main dish is salted cod with potatoes, eggs, mint, bread and wine. Residents then return to the streets for the burning of the "Carnival clown", ending the season. On the island of Madeira, the island's capital, Funchal, wakes up on the Friday before Ash Wednesday to the sound of brass bands and Carnival parades throughout downtown. Festivities continue with concerts and shows in the Praça do Município for five consecutive days. The main Carnival street parade takes place on Saturday evening, with thousands of samba dancers filling the streets. The traditional street event takes place on Tuesday, featuring daring caricatures. Arguably, Brazil's Carnival could be traced to the period of the Portuguese Age of Discoveries when their caravels passed regularly through Madeira, a territory that emphatically celebrated Carnival. Carnival in the town of Ovar, in the Aveiro Region, began in 1952 and is the region's largest festivity, representing a large investment and the most important touristic event to the city. It is known for its creative designs, displayed in the Carnival Parade, which features troupes with themed costumes and music, ranging from the traditional to pop culture. Along with the Carnival Parade, there are five nights of partying, finishing with the famous 'Magical night' where people come from all over the country, mostly with their handmade costumes, only to have fun with the locals. In Estarreja, in the Central region of Portugal, the town's first references to Carnival were in the 14th century, with "Flower Battles", richly decorated floats that paraded through the streets. At the beginning of the twentieth century, these festivities ended with the deaths of its main promoters, only to reappear again in the 1960s to become one of many important Carnival festivals in Portugal.[citation needed] In the Northern region of Podence, children appear from Sunday to Tuesday with tin masks and colorful multilayered costumes made from red, green and yellow wool. In the Central Portugal towns of Nelas and Canas de Senhorim, Carnival is an important tourist event. Nelas and Canas de Senhorim host four festive parades that offer colorful and creative costumes: Bairro da Igreja and Cimo do Povo in Nelas and do Paço and do Rossio in Canas de Senhorim. In Lisbon, Carnival offers parades, dances and festivities featuring stars from Portugal and Brazil. The Loures Carnival celebrates the country's folk traditions, including the enterro do bacalhau or burial of the cod, which marks the end of Carnival and the festivities. North of Lisbon is the famous Torres Vedras Carnival, described as the "most Portuguese in Portugal". The celebration highlight is a parade of creatively decorated streetcars that satirize society and politics. Other Central Portugal towns, such as Fátima and Leiria, offer colorful, family-friendly celebrations. In these towns, everyone dresses up as if it were Halloween. Children and adults wear masks.[citation needed] In the Algarve region, several resort towns offer Carnival parades. Besides the themed floats and cars, the festivities include "samba" groups, bands, dances, and music. In Lazarim, a civil parish in the municipality of Lamego, celebrations follow the pagan tradition of Roman Saturnalias. It celebrates by burning colorful effigies and dressing in home-made costumes. Locally-made wooden masks are worn. The masks are effigies of men and women with horns, but both roles are performed by men. They are distinguished by their clothes, with caricature attributes of both men and women.[citation needed] The Lazarim Carnaval cycle encompasses two periods, the first starting on the fifth Sunday before Quinquagesima Sunday. Masked figures and people wearing large sculpted heads walk through the town. The locals feast on meats, above all pork. The second cycle, held on Sundays preceding Ash Wednesday, incorporates the tradition of the Compadres and Comadres, with men and women displaying light-hearted authority over the other.[citation needed] Over the five weeks, men prepare large masked heads and women raise funds to pay for two mannequins that will be sacrificed in a public bonfire. This is a key event and is unique to Portugal. During the bonfire, a girl reads the Compadre's will and a boy reads the Comadre's will. The executors of the will are named, a donkey is symbolically distributed to both female and male "heirs", and then there is the final reckoning in which the Entrudo, or Carnival doll, is burned. Maslenitsa (Масленица, also called "Pancake Week" or "Cheese Week") is a Russian folk holiday that incorporates some pagan traditions. It is celebrated during the last week before Lent. The essential element is bliny, Russian pancakes, popularly taken to symbolize the sun. Round and golden, they are made from the rich foods allowed that week by the Orthodox traditions: butter, eggs, and milk. (In the tradition of Orthodox Lent, the consumption of meat ceases one week before that of milk and eggs.) Maslenitsa also includes masquerades, snowball fights, sledding, swinging on swings, and sleigh rides. The mascot is a brightly dressed straw effigy of Lady Maslenitsa, formerly known as Kostroma. The celebration culminates on Sunday evening, when Lady Maslenitsa is stripped of her finery and put to the flames of a bonfire. In Slovakia, the Fašiangy (fašiang, fašangy) takes place from Three Kings Day (Traja králi) until the midnight before Ash Wednesday (Škaredá streda or Popolcová streda). At the midnight marking the end of fašiangy, a symbolic burial ceremony for the contrabass is performed, because music ceases for Lent. The Slovenian name for carnival is pust. The Slovenian countryside displays a variety of disguised groups and individual characters, among which the most popular and characteristic is the Kurent (plural: Kurenti), a monstrous and demon-like, but fluffy figure. The most significant festival is held in Ptuj (see: Kurentovanje). Its special feature are the Kurents themselves, magical creatures from another world, who visit major events throughout the country, trying to banish the winter and announce spring's arrival, fertility, and new life with noise and dancing. The origin of the Kurent is a mystery, and not much is known of the times, beliefs, or purposes connected with its first appearance. The origin of the name itself is obscure. The Cerknica Carnival is heralded by a figure called "Poganjič" carrying a whip. In the procession, organised by the "Pust society", a monstrous witch named Uršula is driven from the mountain Slivnica, to be burned at the stake on Ash Wednesday. Unique to this region is a group of dormice, driven by the Devil and a huge fire-breathing dragon. Cerkno and its surrounding area are known for the Laufarji, Carnival figures with artistically carved wooden masks. The Maškare from Dobrepolje used to represent a triple character: the beautiful, the ugly (among which the most important represented by an old man, an old woman, a hunchback, and a Kurent), and the noble (imitating the urban elite).[citation needed] The major part of the population, especially the young and children, dress up in ordinary non-ethnic costumes, going to school, work, and organized events, where prizes are given for the best and most original costumes. Costumed children sometimes go from house to house asking for treats.[citation needed] Arguably the most famous Carnivals in Spain are Santa Cruz, Las Palmas, Sitges, Vilanova i la Geltrú, Tarragona, Águilas, Solsona, Cádiz, Badajoz, Bielsa (an ancestral Carnival celebration), Plan, San Juan de Plan, Laza, Verín, Viana, and Xinzo de Limia. One of the oldest pre-Indo-European carnival in Europe takes place in Ituren and Zubieta in Navarre in late January/early February. The carnival symbolises the eternal struggle between the forces of good and evil, light and darkness, winter and spring. In Cádiz, the costumes worn are often related to recent news, such as the bird flu epidemic in 2006, during which many people were disguised as chickens. The feeling of this Carnival is the sharp criticism, the funny play on words and the imagination in the costumes, more than the glamorous dressings. It is traditional to paint the face with lipstick as a humble substitute of a mask. The most famous groups are the chirigotas, choirs, and comparsas. The chirigotas are well known witty, satiric popular groups who sing about politics, new times, and household topics, wearing the same costume, which they prepare for the whole year. The Choirs (coros) are wider groups that go on open carts through the streets singing with an orchestra of guitars and lutes. Their signature piece is the "Carnival Tango", alternating comical and serious repertory. The comparsas are the serious counterpart of the chirigota in Cádiz, and the poetic lyrics and the criticism are their main ingredients. They have a more elaborated polyphony that is easily recognizable by the typical countertenor voice. The Santa Cruz Carnival is, with the Carnival of Cadiz, the most important festival for Spanish tourism and Spain's largest Carnival. In 1980, it was declared a Festival Tourist International Interest. Every February, Santa Cruz de Tenerife, the capital of the largest of the Canary Islands, hosts the event, attracting around a million people. In 1980, it was declared a Festival Tourist International Interest. In 1987, Cuban singer Celia Cruz with orchestra Billo's Caracas Boys performed at the "Carnival Chicharrero", attended by 250,000 people. This was registered in the Guinness Book of World Records as the largest gathering of people in an outdoor plaza to attend a concert, a record she holds today. The Carnival of Las Palmas (Gran Canaria) has a drag queen's gala where a jury chooses a winner. In Catalonia, people dress in masks and costume (often in themed groups) and organize a week-long series of parties, pranks, outlandish activities such as bed races, street dramas satirizing public figures, and raucous processions to welcome the arrival of Sa Majestat el Rei Carnestoltes ("His Majesty King Carnival"), known by various titles, including el Rei dels poca-soltes ("King of the crackpots"), Princep etern de Cornudella ("eternal Prince of Cuckoldry"), Duc de ximples i corrumputs ("Duke of the fool and corrupt"), Marquès de la bona mamella ("Marquis of the lovely breast"), Comte de tots els barruts ("Count of the insolent"), Baró de les Calaverades ("Baron of mocturnal debaucheries"), and Senyor de l'alt Plàtan florit, dels barraquers i gamberrades i artista d'honor dalt del llit ("Lord of the tall blooming Banana, of the voyeurs and punks and the artist of honor upon the bed"). The King presides over a period of misrule in which conventional social rules may be broken and reckless behavior is encouraged. Festivities are held in the open air, beginning with a cercavila, a ritual procession throughout the town to call everyone to attend. Rues of masked revelers dance alongside. On Thursday, Dijous Gras (Fat Thursday) is celebrated, also called 'omelette day' (el dia de la truita), on which coques (de llardons, butifarra d'ou, butifarra), and omelettes are eaten. The festivities end on Ash Wednesday with elaborate funeral rituals marking the death of King Carnival, who is typically burned on a pyre in what is called the "burial of the sardine" (enterrament de la sardina), or, in Vilanova, as l'enterro. The Carnival of Vilanova i la Geltrú has a documented history from 1790 and is one of the richest in the variety of its acts and rituals. It adopts an ancient style in which satire, the grotesque body (particularly cross-dressing and displays of exaggerated bellies, noses, and phalli), and, above all, active participation are valued over glamorous, media-friendly spectacles that Vilanovins mock as "thighs and feathers". It is best known for Les Comparses, a tumultuous dance held on Sunday in which thousands of dancers in traditional dresses and Mantons de Manila (Manila Shawls), organized into groups of couples march in the street forming lines while throwing tons of hard candies at one another. Vilanovinians organize several rituals during the week. On Dijous Gras, Vilanovin children are excused from school to participate in the Merengada, a day-long scene of eating and fighting with sticky, sweet meringue while adults have a meringue battle at midnight at the historic Plaça de les Cols. On Friday citizens are called to a parade for the arrival of King Carnival called l'Arrivo that changes every year. It includes a raucous procession of floats and dancers lampooning current events or public figures and a bitingly satiric sermon (el sermo) delivered by the King himself. On Saturday, the King's procession and his concubines scandalize the town with their sexual behavior; the mysterious Moixo Foguer (Little-Bird-Bonfire) is shown accompanied by the Xerraire (jabberer), who try to convince the crowd about the wonders that this mighty bird carries in a box (which ends up being in fact a naked person covered in feathers); and other items such as: sport acts and barbecues in the streets; the talking-dance of the Mismatched Couples (Ball de Malcasats); the children's King Caramel whose massive belly, long nose and sausage-like hair hint at his insatiable appetites; or the debauched Nit dels Mascarots dance. After Sunday, vilanovinians continue its Carnival with the children's party Vidalet, the satirical chorus of Carnestoltes songs and the last night of revelry, the Vidalot. For the King's funeral, people dress in elaborate mourning costume, many of them cross-dressing men who carry bouquets of phallic vegetables. In the funeral house, the body of the King is surrounded by weeping concubines, crying over the loss of sexual pleasure brought about by his death. The King's body is carried to the Plaça de la Vila where a satiric eulogy is delivered while the townspeople eat salty grilled sardines with bread and wine, suggesting the symbolic cannibalism of the communion ritual. Finally, amid rockets and explosions, the King's body is burned in a massive pyre. Carnaval de Solsona takes place in Solsona, Lleida. It is one of the longest; free events in the streets and nightly concerts run for more than a week. The Carnival is known for a legend that explains how a donkey was hung at the tower bell − because the animal wanted to eat grass that grew on the top of the tower. To celebrate this legend, locals hang a stuffed donkey at the tower that "pisses" above the excited crowd using a water pump. This event is the most important and takes place on Saturday night. For this reason, the inhabitants are called matarrucs ("donkey killers"). "Comparses" groups organize free activities. These groups of friends create and personalize a uniformed suit to wear during the festivities.[citation needed] In Sitges, special feasts include xatonades (xató is a traditional local salad of the Penedès coast) served with omelettes. Two important moments are the Rua de la Disbauxa (Debauchery Parade) on Sunday night and the Rua de l'Extermini (Extermination Parade) on Tuesday night. In 2022, the Rua de la Disbauxa hosted 34 floats and over 1,200 participants. Tarragona has one of the region's most complete ritual sequences. The events start with the building of a huge barrel and ends with its burning with the effigies of the King and Queen. On Saturday, the main parade takes place with masked groups, zoomorphic figures, music, and percussion bands, and groups with fireworks (the devils, the dragon, the ox, the female dragon). Carnival groups stand out for their clothes full of elegance, showing brilliant examples of fabric crafts, at the Saturday and Sunday parades. About 5,000 people are members of the parade groups.[citation needed] In Galicia, the celebration is commonly known as Entroido, or otherwise Antroido, Entroiro, Entruido or Entrudio. Throughout history, the cities, towns and villages of Galicia had poor connections between each other, so Entroidos are very diverse with different cultural traditions and characters based in the zone you're in. Nine Entroido celebrations have been declared as places of touristic interest in Galicia: Xinzo de Limia, Cobres, Laza, Verín, Felos de Maceda, Xenerais do Ulla, Vilariño de Conso, Androlla and Viana do Bolo and Manzaneda. In Galician cuisine, there are various traditional dishes of Entroido, such as Filloas (a dish similar to crêpes) and Orellas (A traditional dish of Catalonia and the Valencian Community, but also traditionally served in Galician and French carnivals). Other traditional foods include Chorizo, Lacón, Caldo, Androlla and Pig Heads. One of the most important Spanish Carnival Festivals is celebrated in Vinaròs, a small town situated in the northern part of the province of Castellón, Valencian Community. The Carnival Festival in Vinaròs has been declared of Regional Touristic Interest and in 2017, this outstanding and ancient show celebrated 35 years of History. The Carnival Festival in Vinaròs became a forbidden celebration during the Spanish Civil War but after the dictatorship, the party regained importance with the democracy's arrival. Every year in February, forty days before the Spanish Cuaresma, thirty-three "comparsas" go singing, dancing and walking down the streets in a great costumes' parade in Vinaròs. In addition, many other festive, cultural and musical activities of all ages take place, such as an epic battle of confetti and flour, funny karaoke contests or the so-called "Entierro de la Sardina" (Burial of the Sardine). Nevertheless, the most important event is the gala performance of the Carnival's Queen. In this breathtaking show, it is elected the Queen of the Carnival, the major representative of the Carnival in Vinaròs all year round. For almost five centuries, local Greek Orthodox communities throughout Istanbul celebrated Carnival with weeks of bawdy parades, lavish balls, and street parties. This continued for weeks before Lent. Baklahorani took place on Shrove Monday or Clean Monday, the last day of the carnival season. The event was led by the Greek Orthodox community, but the celebrations were public and inter-communal. The final celebration was sited in the Kurtuluş district. In 2010, the festival was revived. In England, the three days before Lent were called Shrovetide. A time for confessing sins ("shriving"), it had fewer festivities than the continental Carnivals. Today, Shrove Tuesday is celebrated as Pancake Day, but little else of the Lent-related Shrovetide survived the 16th-century English Reformation. Since 2012, Hastings in East Sussex has celebrated with its own Mardi Gras, or Fat Tuesday. Five days of music and street events culminating with a Grand Ball on Fat Tuesday itself. Loosely based on the New Orleans style of carnival, Hastings has taken its own course. See also Notes References |
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Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-14] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_note-7] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. An exception to this rule is when they are protected due to upload vandalism. Pages can be protected by Wikimedia Foundation staff in response to issues such as copyright infringement or libel as outlined in Foundation:Policy:Office actions § Use of advanced rights by Foundation staff. Such actions override community consensus. Administrators should not edit or unprotect such pages without permission from Wikimedia Foundation staff. Cascading protection fully protects a page, and extends that full protection automatically to any page that is transcluded onto the protected page, whether directly or indirectly. This includes templates, images and other media that are hosted on the English Wikipedia. Files stored on Commons are not protected by any other wiki's cascading protection and, if they are to be protected, must be either temporarily uploaded to the English Wikipedia or explicitly protected at Commons (whether manually or through cascading protection there). When operational, KrinkleBot cascade-protects Commons files transcluded at Wikipedia:Main Page/Tomorrow, Wikipedia:Main Page/Commons media protection and Main Page. As the bot's response time varies, media should not be transcluded on the main page (or its constituent templates) until after it has been protected. (This is particularly relevant to Template:In the news, for which upcoming images are not queued at Wikipedia:Main Page/Tomorrow.) Cascading protection: The list of cascading-protected pages can be found at Wikipedia:Cascade-protected items. Requests to add or remove cascading protection on a page should be made at Wikipedia talk:Cascade-protected items as an edit request. Operational pages principally used by software, including bots and user scripts, may be protected based on the type of use, content, and other considerations. This includes configuration pages, data pages, log pages, status pages, and other pages specific to the operation of software. However, personal CSS, personal JavaScript, and personal JSON are automatically protected and should not be protected for this reason. Some pages on Wikipedia are subject to software-enforced protection that administrators cannot change or remove. This is called permanent or indefinite protection, and interface protection in the case of CSS and JavaScript pages. Specifically, this applies to: Protection by namespace Modifications to a protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. Talk pages are not usually protected, and are semi-protected only for a limited duration in the most severe cases of disruption. User talk pages are rarely protected. However, protection can be applied if there is severe vandalism or abuse. Users whose talk pages are protected may wish to have an unprotected user talk subpage linked conspicuously from their main talk page to allow good-faith comments from users that the protection restricts editing from. A user's request to have their own talk page protected is not a sufficient rationale by itself to protect the page, although requests can be considered if a reason is provided. Blocked users' user talk pages should not ordinarily be protected, as this interferes with the user's ability to contest their block through the normal process. It also prevents others from being able to use the talk page to communicate with the blocked editor. In extreme cases of abuse by the blocked user, such as abuse of the {{unblock}} template, re-blocking the user with talk page access removed should be preferred over applying protection to the page. If the user has been blocked and with the ability to edit their user talk page disabled, they should be informed of this in a block notice, subsequent notice, or message, and it should include information and instructions for appealing their block off-wiki, such as through the UTRS tool interface or, as a last recourse, the Arbitration Committee. When required, protection should be implemented for only a brief period, not exceeding the duration of the block. Confirmed socks of registered users should be dealt with in accordance with Wikipedia:Sockpuppetry; their pages are not normally protected. Base user pages (for example, the page User:Example, and not User:Example/Lipsum or User talk:Example) are automatically protected from creation or editing by unconfirmed accounts and anonymous temporary account users. An exception is that unconfirmed registered users are allowed to create or edit their own user page. 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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-15] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-17] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Grand_Theft_Auto_IV] | [TOKENS: 9872] |
Contents Grand Theft Auto IV Grand Theft Auto IV is a 2008 action-adventure game developed by Rockstar North and published by Rockstar Games. It is the sixth main entry in the Grand Theft Auto series, following 2004's Grand Theft Auto: San Andreas, and the eleventh entry overall. Set in the fictional Liberty City, based on New York City, the single-player story follows Eastern European war veteran Niko Bellic and his attempts to escape his past while under pressure from high-profile criminals. The open world design lets players freely roam Liberty City, consisting of four boroughs across three islands, and the neighbouring state of Alderney, which is based on New Jersey. The game is played from a third-person perspective and its world is navigated on foot and by vehicle. Throughout the single-player mode, players control Niko Bellic. An online multiplayer mode is also included with the game, allowing up to 32 players to engage in both cooperative and competitive gameplay in a recreation of the single-player setting.[b] Two expansion packs were later released for the game, The Lost and Damned and The Ballad of Gay Tony, which both feature new plots that are interconnected with the main Grand Theft Auto IV storyline, and follow new protagonists. Development of Grand Theft Auto IV began soon after the release of San Andreas and was shared between many of Rockstar's studios worldwide. The game introduced a shift to a more realistic and detailed style and tone for the series. Unlike previous entries, Grand Theft Auto IV lacked a strong cinematic influence, as the team attempted an original approach to the story. As part of their research for the open world, the development team conducted extensive field research in New York, capturing over 100,000 photographs and several hours of video. The developers considered the world to be the most important element of the game; though not the largest map in the series, they considered it comparable in scope due to its verticality and level of detail. The budget climbed to over US$100 million, making it one of the most expensive video games to develop. Grand Theft Auto IV was released for the PlayStation 3 and Xbox 360 consoles in April 2008, and for Windows in December. It received critical acclaim, with praise directed at the narrative and open-world design. Grand Theft Auto IV broke industry sales records and became the fastest-selling entertainment product in history at the time, earning US$310 million in its first day and US$500 million in its first week. Considered one of the most significant titles of the seventh generation of video games, and by many critics as one of the greatest video games of all time, it won year-end accolades, including Game of the Year awards from several gaming publications. It is among the best-selling video games with over 25 million copies sold by 2013. The game generated controversy, with criticism directed at the game's depiction of violence and players' ability to drive drunk. Its successor, Grand Theft Auto V, was released in 2013. Gameplay Grand Theft Auto IV is an action-adventure game played from a third-person perspective. Players complete missions—linear scenarios with set objectives—to progress through the story. It is possible to have several active missions running at one time, as some require players to wait for further instructions or events. Outside of missions, players can freely roam the game's open world and complete optional side missions. Composed of the fictional city of Liberty City, the world is larger in area than most earlier Grand Theft Auto series entries. At the beginning of the game, players can only explore a limited area—Bohan, Broker, and Dukes—with all other islands unlocking as the story progresses. Players use melee attacks, firearms and explosives to fight enemies, and may run, jump, swim or use vehicles to navigate the game's world. There is a first-person perspective option when using vehicles. In combat, auto-aim and a cover system can be used as assistance against enemies. Should players take damage, their health meter can regenerate by consuming food or drinks, using medical kits, or calling for paramedics. If players commit crimes, law enforcement may respond as indicated by a "wanted" meter in the head-up display (HUD). On the meter, a count of stars indicates the current wanted level. Gaining more stars will cause law enforcement to incapacitate players more aggressively and extends the wanted vicinity area, and is capped at six stars. The player can evade police by travelling outside the wanted vicinity area, after this the wanted meter enters a cool-down mode, law enforcement hunt for the player, and eventually recedes when they are hidden from the officers' line of sight. The game's cover system allows players to move between obstacles, to fire blindly, aim freely, and target a specific enemy. Individual body parts can also be targeted. Melee attacks include additional moves, such as dodging, blocking, disarming an opponent and counter-attacking. Body armour can be used to absorb gunshots and explosive damage, but is used up in the process. When health is entirely depleted, gameplay stops, and players respawn at the nearest hospital. The single-player mode lets players control an Eastern European war veteran, Niko Bellic. During the story, Niko meets and befriends various new characters. While free roaming the game world, players may engage in context-specific activities such as bowling or darts, either alone or with friends. Other available activities include a vigilante mini-game, and in-game television programming. Hanging out, answering calls, or completing missions of friends will increase that friend's respect. If their respect is high enough, the player can unlock favours; for example, Niko's cousin Roman owns a taxi service, and can send one of his cabs to take Niko to any destination without a fee. Cabs are always available during gameplay for quick travel to a destination. Throughout the course of the game, players are also faced with morality choices, which alter the storyline appropriately depending on the player's choice. Niko has a cell phone for contacting friends and hanging out with them through activities. The cell phone is also used to access the game's online multiplayer mode, and to enter cheat codes. To access the in-game Internet, which allows Niko to send and receive emails and set up prospective dates with potential girlfriends, Niko can use Internet cafés located around the city. The game also features a subway system, allowing players to quickly traverse through the game's world. The online multiplayer mode for Grand Theft Auto IV allows up to 32 players[b] to freely roam across the map. Players decide which game mode they wish to play, including deathmatches and street races. Both cooperative and competitive game modes are available, split into ranked and unranked matches. For players to level up through ranks, in-game money has to be earned. The game also features a Free Mode, in which players have the entire map open to explore, with no end goal or mission to complete. Hosts of the game can control many variables, such as police presence, traffic, and weapons. The multiplayer mode was discontinued on Windows in 2020. Synopsis Grand Theft Auto IV takes place within an alternate version of Liberty City seen in Grand Theft Auto III. The design of the city focuses on a recreation of four of the boroughs of New York City: Broker (based on Brooklyn), Dukes (Queens), Bohan (The Bronx), and Algonquin (Manhattan). The setting also includes the neighbouring state of Alderney (based on New Jersey). In the story, it is explained that bridges are locked down due to a terrorist threat, and police constantly pursue players if the bridges are crossed. These barricades are lifted as the player progresses the story, allowing them to traverse uninterrupted between islands. Grand Theft Auto IV is set in the fictional "HD Universe", which mirrors and parodies the real world. The previous games formed fictional universes of their own,[c] which despite having many similarities with the HD Universe, are considered to be different continuities. Hence, the Liberty City depicted in Grand Theft Auto IV is different from its previous renditions, and the game itself serves as a reboot for the series. The new timeline established by Grand Theft Auto IV continues with two expansion packs, The Lost and Damned and The Ballad of Gay Tony, and a sequel, Grand Theft Auto V, as well as its online component, Grand Theft Auto Online. The handheld game Grand Theft Auto: Chinatown Wars is also considered part of the HD Universe because it features the same map as Grand Theft Auto IV, except for Alderney. Niko Bellic, an Eastern European ex-soldier, arrives in Liberty City aboard the cargo ship Platypus to escape his criminal past, pursue the American Dream, and search for a man who betrayed his unit to an ambush ten years prior. Reuniting with his cousin Roman, he discovers that the stories of riches and success he was told of were embellished. Instead of living a life of luxury with nice cars and pretty women, Roman lives in a small, dirty apartment, owns an unprofitable taxi company, has gambling debts, and often disputes with loan sharks. Niko begins assisting Roman with his problems and makes criminal contacts in the city. He befriends Yardies second-in-command Little Jacob and is forced to work for Vlad Glebov, Roman's Russian loan shark. Niko eventually kills Vlad upon learning he had slept with Roman's girlfriend, Mallorie. In retaliation, Niko and Roman are kidnapped by Russian mobsters on orders of their boss Mikhail Faustin and his lieutenant, Dimitri Rascalov. Indifferent to Vlad's murder, Faustin releases them and employs Niko as a hitman, ordering him to kill the son of Russian crime lord Kenny Petrović. When Petrović threatens retaliation, Dimitri persuades Niko to assassinate Faustin and satisfy Petrović. However, Dimitri betrays him after the killing and brings Niko to his former employer, Ray Bulgarin, who accuses him of stealing from him during a failed human trafficking job years earlier. Niko denies the allegation and a firefight ensues, allowing Dimitri and Bulgarin to escape. Dimitri's men burn down Niko and Roman's apartment and taxi company, forcing them to flee to Bohan. While Niko finds work with several local drug lords, Dimitri briefly kidnaps Roman in a failed attempt to lure Niko into a trap. Later, Niko discovers that his romantic interest, a woman named Michelle, is an undercover government agent who then entraps him into working for her superior. In exchange for the murders of known or suspected terrorists, the superior clears Niko's criminal record and aids him with seeking Niko's traitor. Roman receives a large amount of insurance money from the arson, which he uses to rebuild the business and buy an apartment in Algonquin. Roman also proposes to Mallorie, who accepts. While working for the Irish Mob, Niko befriends gangster Patrick "Packie" McReary, helping him and his brothers carry out various jobs, including a major bank robbery. Niko is later hired by Ray Boccino, a caporegime in the Pegorino crime family, to oversee a diamond deal, which goes awry. Boccino repays Niko by helping him find his ex-comrade Florian Cravic, now known as Bernie Crane, who claims he was not the one to betray their unit. Niko realises that the traitor was Darko Brevic, the only other survivor. Niko continues working for the Mafia and earns the trust of Don Jimmy Pegorino, who orders him to kill Boccino after suspecting him of being a police informant. Niko also helps Packie kidnap Don Giovanni Ancelotti's daughter to ransom her for the diamonds, but Bulgarin intercepts the exchange. In the ensuing firefight, the diamonds are lost. Eventually, government agents find Darko in Romania and bring him to Liberty City for Niko to decide his fate. Afterwards, Niko is summoned by Pegorino for a final favour: to help with a highly lucrative heroin deal in collusion with Dimitri. Learning Dimitri is aboard the Platypus, Niko must decide to either work with Dimitri or exact revenge. If Niko agrees to the deal, Dimitri betrays him again, kills Pegorino, and sends an assassin to kill him at Roman's wedding, but the assassin accidentally kills Roman instead; Niko retaliates by tracking and murdering Dimitri. If Niko chooses revenge, he kills Dimitri, prompting Pegorino to target him at Roman's wedding but accidentally kill Packie's sister Kate, whom Niko had been dating; Niko tracks and murders Pegorino. In both endings, Niko learns that Mallorie is pregnant. Development Preliminary work on Grand Theft Auto IV began in November 2004, a month after the release of Grand Theft Auto: San Andreas. Rockstar president Sam Houser felt that following up San Andreas was "a nightmare". Rockstar North, the core 220-person team behind the game, co-opted studios owned by parent company Rockstar Games to facilitate development between a full team of over 1,000, including 50 employees at Rockstar NYC, 40 at Rockstar Lincoln, 10 at Rockstar San Diego, and around 600–700 working part-time internally and externally. Some key members of the development team worked 12-hour days during production, often without holidays. The team decided to continue the numbering scheme absent from the previous two main games to represent the same leap in production as Grand Theft Auto 2 (1999) to Grand Theft Auto III (2001). Development of Grand Theft Auto IV ceased by 21 April 2008 when the game was submitted for manufacturing. Producer Leslie Benzies estimated that the budget of the development efforts exceeded US$100 million, making Grand Theft Auto IV one of the most expensive video games ever made. The game's setting, Liberty City, is based on New York City. The team did not look at the previous renditions of Liberty City as inspiration, wanting it to retain the "general feel" but nothing else. The map is roughly three times the size of Grand Theft Auto III's. The developers originally considered using the entire state of New York, before restricting it to Manhattan, and then expanding it out again. They considered including more suburbs with woods, and would regularly vote on which areas to include. Art director Aaron Garbut said that the team chose the setting because of the detail and variety it provided, describing New York as "an amazing, diverse, vibrant, cinematic city". Writer Dan Houser added that the team "wanted to be somewhere where we had a foothold" due to the amount of research required for the world; Rockstar Games's main headquarters are located in New York. The team consciously avoided a precise recreation of New York City to allow for more enjoyable game design, selecting the areas that they felt "characterised it the best". Garbut wanted to capture a caricature of the city as he felt that most people were familiar with "the highlights" from film or literature but did not need to know the areas precisely. The city was not built with specific missions in mind; the area was created first, and missions implemented later. To achieve a realistic environment, 60–70 employees from Rockstar North travelled to New York for research: first at the beginning of the project in March or April 2005 for a week and a half, and a smaller trip in 2007. Police officers who previously worked the beat drove the team around Washington Heights. A full-time research team based in New York handled further requests for information, such as the ethnic minority of a neighbourhood or videos of traffic patterns. Videos shot in New York were played on televisions at the Rockstar North offices "so while they worked they could look up and there was New York". Benzies claimed that the team took over 100,000 photographs on location in New York, though Garbut estimates that they took around 250,000. They also studied architectural plans for apartments, used satellite images to determine city block layout, researched sales figures for models of cars, and read books that detailed the city's infrastructure, including its subways, sewers, and garbage disposal. Hove Beach is based on Brighton Beach, which Sam Houser found "pretty incredible" and unusual; the name is based on the English city Brighton and Hove, made up of the former neighbouring towns Brighton and Hove. Houser appreciated that Brighton Beach was home to several Eastern Europeans due to the nature of the game's characters. Dan Houser described Liberty City as "the biggest character" of the game. The Grand Theft Auto IV rendition of Liberty City is more detailed and larger in size than most earlier entries in the series; although smaller than San Andreas, the setting of the previous main game, the developers considered it comparable in scope due to city's verticality, number of buildings, and level of detail. The team wanted less dead spots and irrelevant spaces, such as the wide open deserts in San Andreas. They wanted the game to be "a more focused experience" than San Andreas, and Dan Houser felt that the limited activities of New York allowed this. The team felt that the addition of Niko's mobile phone added to the immersion of the world and represented society's shifted focus on phones. The in-game brands and products are designed over several years; the billboards were implemented in the game around six months prior to release. The game's script, written by Dan Houser and Rupert Humphries, is about 1,000 pages. Approximately 660 actors provided voices for the game over 80,000 lines of dialogue. After conceiving the character and setting, Dan Houser spoke with his brother Sam Houser and Leslie Benzies to bounce story ideas before writing a rough synopsis, a six-paged, detailed document. Once the synopsis was reworked, the designers broke it into missions, represented by a large flow document demonstrating each section. The writers then work on the introductions to the missions; the gameplay dialogue comes much later. Unlike previous Grand Theft Auto games, Grand Theft Auto IV does not have cinematic influences. "We were consciously trying to go, well, if video games are going to develop into the next stage, then the thing isn't to try and do a loving tribute or reference other stuff," said Dan Houser. He said that the writers wanted something "fresh and new and not something that was obviously derived from [a] movie". Dan Houser felt that the quality of the writing had to improve alongside the advancements in graphics and technology. He noted that the improvements in facial animation allowed for slower-paced cutscenes. The unique dialogue that plays when a mission is retried was to ensure that the gameplay felt "less canned and less like Groundhog Day". Dan Houser described Niko Bellic as "a more rounded character" than those in previous games. He felt that his dual personality—often saving innocent people, while also being a "cold-hearted killer"—made him more relatable. He also felt that Niko's unfamiliarity with Liberty City allowed for the player to relate to him more, only driven by his vague past and relationship with Roman. When deciding on Niko's background, the writers felt that being an immigrant could lead to more dangerous situations, and therefore more enjoyable missions; after discussions with criminal experts, Dan Houser found that "the real scary characters are not born in America anymore". He felt that Niko's outsider view of American culture was "fun". The team wanted Niko to be "more of an anti hero than a hero, capable of making positive actions within his criminal world". They wanted his demeanour to reflect the weight of his past and choices. Niko's design underwent a few changes, but was finalised early in development. His outfit underwent several changes based on Eastern Europeans, particularly photographs of men fighting in winter wars in Yugoslavia and Chechnya. The primary motivation for the design was a face to convey the appropriate emotions and a body that could move nicely with the new animations. The in-game purchasable outfits were also designed to fit with the character. The team ensured that the gameplay choices presented to the player were not too extensive, as they still had to make sense to the character, who is driven by the people around him. Dan Houser felt that the missions in San Andreas had become too linear, and wanted to present choices to the player in Grand Theft Auto IV. The writers found that Niko needed a motivation to come to America, so they created his cousin, Roman. Dan Houser felt that the two could not be brothers as there would be a deeper level of familiarity than necessary. He described the two as a double act, with Roman's fantasist charm playing off Niko's tough cynicism. The team gave other non-playable characters (NPCs) more definable behaviours and dialogue to make them feel more alive. The writers initially considered having a smaller group of characters, but found that the story became boring and that players were less likely to explore the world. The stranger characters found in the game world were based on the "crazy people" that populate New York, according to Dan Houser, which in previous games were only able to be captured through radio stations or mild pedestrian behaviours. The team based the ethnicities, clothing, and behaviours of the NPCs on the photographs and videos that they captured around New York, divided into different areas; they created mood boards for each location. The NPCs also converse in different languages. Grand Theft Auto IV sees a shift in the series to a more realistic and detailed style and tone, partly a result of the transition to consoles which offered high-definition graphics and the new and improved capabilities of such consoles. The development team worked to represent the upgrade in quality across all design aspects while maintaining the coherence of the previous games. The team took the game's development as an opportunity to "strip things back and start again", refining the art style without losing the style of the series; they distanced the game from the "cartoon-like style" of its predecessors while creating a new style that was consistent across all aspects of the game. Garbut found the increased demand of detail brought on by the advanced technology daunting. A technique used to make the visuals look real was to avoid harsh edges, instead blending surfaces together to make the world look dirty and lived-in. The props department created multiple variations of different objects to make the world more interesting and unique. Grand Theft Auto IV was the first contemporary game in the series since 2001's Grand Theft Auto III; the team felt that enough time had passed to avoid feeling repetitive. The types of in-game vehicles were decided upon early in development, after which the vehicles department begin creating the designs. The vehicles are not based on specific real-life counterparts, but take elements from several, with some original ideas by the developers. The proprietary Rockstar Advanced Game Engine was used for Grand Theft Auto IV. Garbut found the game's technical design similar to Grand Theft Auto III's, with both being the first in the series released on their respective platforms. He claimed an operable game engine was not finalised until late in development, at which point "there's still plenty of guesswork" until optimisation near release. The characters' physical performances were recorded using motion capture. Up to eight actors, dressed in full suits, could perform on the motion capture stage at one time. The camera included a teleprompter for actors to read their scripts. Over a hundred moves would be captured each day of production. The voice acting performances were often recorded months later alongside facial reference capture, and an actor's voice could be composited over a different actor's physical performance. The in-game animations were crafted similarly, using a combination of different motion capture performances. For the gameplay and animations, the team redid a lot of the work from previous games, wanting Grand Theft Auto IV to "feel next-generation". The role-playing elements from San Andreas were removed fairly early in development, partly due to the animation work it would have required, and because consistently needing to visit the gym felt antithetical to Niko's motivations. The game's targeting system was one of the first focuses of development due to the advanced technology; the team wanted it to feel realistic without being too technical. The cover system was a "natural addition" to the targeting. Benzies described the multiplayer as the hardest part of the game's development. The team wanted the multiplayer to feel like an extension of the cinematic single-player experience. Dan Houser described it as "a section of a film rather than the whole narrative". The developers considered adding co-operative multiplayer to the main story campaign, but decided it worked better as a single-player experience. When Sam Houser first showed interest in using the Euphoria software in the game, he was told that it would be impossible or only limited to cutscenes, but some members of the team were able to make it work. Engineers from NaturalMotion worked on-site at Rockstar North for several months at a time to incorporate Euphoria software into the game. Rockstar also worked with Image Metrics for the game's facial animations. The facial rigs had around 100 joints, with a total of 300 minutes of facial animation. The scale of the project caused some issues for the animators, forcing them to have rigs completed before animation began. They also faced difficulty in the direction of the actor's head—either straight on when looking at the teleprompter, or down when looking at a script. Image Metrics head of production David Barton noted that "having realistic eyes is 90 percent of the battle", as it allows the player to believe the character. SpeedTree was used for in-game environment rendering. When selecting music for the in-game radio stations, music supervisor Ivan Pavlovich said "[we had] to pick the songs that make New York today what it is, but make sure they won't feel dated by the time the game comes out." The developers contacted over 2,000 people to obtain recording and publishing rights; they hired a private investigator to locate the relatives of late Skatt Bros. member Sean Delaney to license the band's song, "Walk the Night". Billboard reported that Rockstar paid as much as $5,000 per composition and another $5,000 per master recording per track. Developers originally considered letting players purchase music in an in-game record shop and for Niko to have an MP3 player, but both ideas were cut. DJ Green Lantern produced tracks exclusively for the game's hip-hop radio station The Beat 102.7. Record producer Bobby Konders, who owns the record label Massive B and hosts the in-game radio station Massive B Soundsystem 96.9, flew to Jamaica to get dancehall artists to re-record tracks to make references to the boroughs of Liberty City. The Housers's father, jazz musician Walter Houser, provided several classical music tracks for the game. Release Microsoft's Peter Moore announced Grand Theft Auto IV at E3 2006 by rolling up his sleeve to reveal a temporary tattoo of its logo. The game became widely anticipated. Wedbush Morgan analyst Michael Pachter suggested Take-Two may delay the game from its 16 October 2007 release date to boost 2008 financial results and avoid competing with games like Halo 3; Rockstar responded it was still on track for "late October". In August 2007, Take-Two announced the game would miss its date, delayed to their second fiscal quarter (February–April) of 2008, citing technical difficulties with the PlayStation 3 version. IGN predicted the delay would benefit other publishers, particularly Activision with Call of Duty 4: Modern Warfare. On 24 January 2008, Rockstar announced the 29 April release date. Some gameplay features were censored for the Australian and New Zealand versions but the restrictions were subsequently removed. Capcom published the game in Japan on 30 October 2008. In August 2008, Rockstar announced that the game would be coming to Windows on 18 November 2008 in North America and 21 November in Europe, with additional development work by Rockstar Toronto. Microsoft partnered with Rockstar in a US$50 million deal to bring two episodic downloadable content packs to the Xbox 360: Grand Theft Auto IV: The Lost and Damned on 17 February 2009, and Grand Theft Auto: The Ballad of Gay Tony on 29 October 2009. Dan Houser wanted the episodes to show "a different side of Liberty City". In January 2010, Rockstar announced that the DLC would be bundled as Episodes from Liberty City, released for PlayStation 3 and Windows on 13 April 2010 in North America and 16 April in Europe. Episodes from Liberty City was also bundled with the main game in The Complete Edition, released on 26 October 2010 in North America and 29 October in Europe. The Xbox 360 version of the game and its DLC were made backwards compatible with the Xbox One on 9 February 2017. Industry analysts found Grand Theft Auto IV's marketing much more subtle than Microsoft's marketing of Halo 3 (2007), identifying Rockstar's interest in controlling the output at all times. The game was marketed through video trailers and press demonstrations. On 29 March 2007, the debut trailer was released. It was narrated by protagonist Niko, and depicts the open world accompanied by the song "Pruit-Igoe" by Philip Glass, originally composed for Godfrey Reggio's 1982 documentary film Koyaanisqatsi. The trailer is credited for starting the Rickrolling meme; after the higher viewership crashed Rockstar's website, several users re-posted the trailer, but some misleadingly played the music video for Rick Astley's "Never Gonna Give You Up". The second trailer was released on 28 June 2007, showcasing the game's physics engine and featuring the song "Arm in Arm (Shy Child Remix)" by the Boggs. Dan Houser noted that the game was "still rough" when the first trailer was released, but that cutscenes were "coming on board" by the second trailer's release. To unveil the game's cover art, Rockstar contracted artists to paint a mural on a wall at a secluded warehouse location, showcasing the art in a video on 28 November 2007. A third trailer was released on 6 December 2007, introducing some of the game's characters, such as Roman and Michelle. The trailer features the song "King Ring" by Russian rap artist Seryoga, which Rockstar felt captured the "melting pot mentality" of Liberty City. Dan Houser wanted the third trailer to capture the "visceral qualities" of the game, but focus less on the story, as the first two trailers had done. On 8 February 2008, five teaser trailers for the game were released, each showcasing a particular character or service within the game. Similar teaser trailers were later released in pairs on 21 February, 7 March, and 11 April. Another trailer, released on 27 March 2008, showcases some scenes from the game, such as a bank robbery and police chase. A television commercial from GameStop debuted on 1 April, focusing on the activities in Liberty City. Viral marketing strategies were used to promote the game. Wanted posters were placed around New York City promoting the game's characters and website; billboard versions were also posted throughout the city. Murals and posters advertising the game were placed on buildings and public transport. The Chicago Transit Authority (CTA) removed advertisements promoting the game from their property in April 2008; Take-Two filed a lawsuit in response, claiming that the CTA had violated a contract. Visitors to the website of WKTT Talk Radio—a fictional radio station within the game—were offered a chance to leave a voice mail message stating their problems. Prior to leaving the message, callers were asked to read the terms and conditions, which revealed that some of the voice mail message would be selected for use in the game. In the month prior to launch, Rockstar and GameStop held a competition offering up to US$10,000 and a trip to New York City for the game's launch event. Microsoft held a similar sweepstakes competition, offering consoles, games, Microsoft Points, a baseball bat, and an invitation to the launch event as rewards. The official Grand Theft Auto IV website was redesigned on 8 February 2008 to show a preview of activities and locales within the game's world. To encourage pre-order sales, Rockstar collaborated with several retail outlets to provide a special edition version of the game. It includes a metal safe deposit box, an art book, and the soundtrack CD. The publisher also collaborated with Sony to release a 40 GB PlayStation 3 console with a copy of the game. GameStop hosted midnight launch events at over 3,500 of its American stores, with contests and giveaways. Reception Grand Theft Auto IV received "universal acclaim" from critics, according to review aggregator Metacritic. It is the second-highest-rated game on the site, and the highest-rated PlayStation 3 and Xbox 360 game. Reviewers praised the narrative, open world design and combat system. Hilary Goldstein of IGN felt that the game "sets a new benchmark for open-world games", and Andrew Reiner of Game Informer wrote that the game "completely changes the landscape of gaming". Reviewers lauded the open world design, some further complimenting the freedom that it allows the player. Seth Schiesel of The New York Times named the city the "real star" of the game. Official Xbox Magazine's Hicks was impressed by the city, attributing this to the game's artificial intelligence. Robinson of Computer and Video Games considered the environment believable, and felt that the world was "utterly unmatched". Goldstein of IGN felt that, although Liberty City is inspired by New York, it is not beholden to it. He wrote that the city "exists in its own universe and rightfully so". Crispin Boyer of 1UP.com directed praise at the city's "breathtaking vistas, incredibly varied scenery, and lived-in look." Conversely, Jesse Costantino of GameRevolution felt that the game lacked important features common in other open world games. Reviewers praised the narrative. IGN's Goldstein accepted that the darker tones to the story were a break from series tradition. Jon Hicks of Official Xbox Magazine felt surprised by the amount of depth to the story. Reiner of Game Informer wrote that the level of freedom in the game contributed to his enjoyment of the story. The morality choices faced by players throughout the narrative were also welcomed. 1UP.com's Boyer felt that they gave the game an element of "replayability". Eurogamer's Tom Bramwell considered the morality choices a fair substitute over "bosses with large health bars". The game's characters—particularly Niko—received positive reactions from critics. Hicks of Official Xbox Magazine and Andy Robinson of Computer and Video Games both called Niko "charismatic" and "likeable", stating that they prefer him over previous protagonists of the series. George Walter of GamesRadar praised the depth of the character, and IGN's Goldstein felt that the character of Niko feels relatable when faced with difficult decisions. Jeff Gerstmann of Giant Bomb felt that Niko was "the only thing that mattered to [him]" as he progressed through the story, with the character becoming one of his favourite features of the game. Schiesel of The New York Times named Niko one of the most realised video game characters attributing this to the game's script, while 1UP.com's Boyer commended the use of character bonding during missions. Many reviewers found the combat system was more responsive than in previous games, particularly praising the addition of the cover system. Justin Calvert of GameSpot wrote that the cover system makes the game's combat a "huge improvement" over previous games. Reiner of Game Informer agreed, writing that the targeting system makes players feel responsible for all deaths. IGN's Goldstein praised the fluidity of the cover system, and felt that the auto aim mechanic is a "great help in larger battles". GamesRadar's Walter wrote that the cover system has "paved the way to a new style of mission". David McComb of Empire called the combat "sharp and instinctive", and Hicks of Official Xbox Magazine felt that the cover system allows players to execute an attack plan. In addition to the combat system, most reviewers noted the vehicle handling was more realistic than in previous games. Robinson of Computer and Video Games felt that the vehicle handling echoed realism, while Hicks of Official Xbox Magazine called the vehicle selection "excellent". Costantino of GameRevolution praised the improvement of the game's mechanics, particularly the physics engine's advanced vehicle and character animations. Reviewers praised the sound design. Goldstein of IGN praised the actors' performances and the use of licensed music. GameSpot's Calvert and GamesRadar's Walter also commended the licensed music, the latter admiring the humour of the radio's talk stations. Michael Pinson of The Pro Audio Files praised the separate features of the sound design—including the city's ambiance, licensed music, character dialogue, and vehicle and weapon sound effects—applauding the developer's use of uniting the features together. Carolyn Gudmundson of GamesRadar also retroactively praised the soundtrack, commending its suitability to the setting. The online multiplayer mode received positive reactions from critics. Reiner of Game Informer praised the character customisation available in the multiplayer mode, and noted that it runs "just as smoothly" as the single-player game. 1UP.com's Boyer called the multiplayer modes "excellent", and IGN's Goldstein named it one of the best. Official Xbox Magazine's Hicks dubbed the multiplayer as "hugely entertaining", while Walter of GamesRadar praised the "seamless" process of entering a multiplayer match. Giant Bomb's Gerstmann and GameRevolution's Costantino felt divided about the multiplayer, the latter naming it a "fantastic idea", but feeling as though connectivity problems resulted in a "broken" experience. The Windows version received "universal acclaim", according to Metacritic. Reviewers liked the enhanced visuals and the additional features, but criticised the port for its inferiority over the console versions. The in-game features added in the port were well received. The addition of the Video Editor was met with positive reactions; GameSpot's Calvert called it "a great way to get creative", while Kieron Gillen of Eurogamer criticised the unpredictability in its timing. Critics also praised the addition of the customisable radio station, which allows players to listen to their own choice of music; Tom Chick of 1UP.com named it the best feature of the port, and Steven Hopper of GameZone called it a "great touch". The port's upgrade to 32 concurrent players in the online multiplayer mode, as opposed to the console version's 16 players, was also met with positive feedback; Eurogamer's Gillen said that the "possibility for mayhem... increases", while Will Tuttle of GameSpy felt that the player increase "changes the action significantly". The port's enhanced visuals were commended by many reviewers. GameZone's Hopper considered the visuals an improvement over the original versions. Andy Robinson of Computer and Video Games called the visuals "impressive", while Tom Orry of VideoGamer.com called them "superb". Conversely, the port's system requirements, considered difficult to run with advanced settings, received criticism. Eurogamer's Gillen said that, though the Windows version is "the most attractive version", it's "annoyingly fiddly to get there". GameSpy's Tuttle was able to overlook the demanding system requirements in exchange for the game's other features. Grand Theft Auto IV earned awards from several critics and publications. It received Game of the Year awards from Digital Spy, the Entertainment Merchants Association, GameTrailers, Giant Bomb, IGN Australia, Kotaku, Los Angeles Times, The New York Times, and Time. The game led the nominees at the 2008 Spike Video Game Awards with eight nominations; it led the winners (tying with Metal Gear Solid 4: Guns of the Patriots) with three awards: Game of the Year, Best Action Adventure Game, and Best Performance by a Human Male for Michael Hollick's role as Niko. The following year, The Ballad of Gay Tony won Best DLC. Grand Theft Auto IV was nominated for three awards at the 9th Game Developers Choice Awards including Game of the Year, four at the 12th Annual Interactive Achievement Awards including Overall Game of the Year, and seven at the 5th British Academy Games Awards, tying with Modern Warfare for the most nominations at the latter. At IGN's Best of 2008, it won eleven awards, including Best Voice Acting across all three platforms and overall, and Best Story for PlayStation 3 and Xbox 360. It was nominated for Choice Video Game at the 2009 Teen Choice Awards. Sales Within twenty-four hours of its release, Grand Theft Auto IV sold over 3.6 million copies, equating to approximately $310 million in revenue. Within a week, it generated more than $500 million in worldwide revenue, equating to approximately 6 million copies sold for Take Two.[d] The numbers surpassed analysts' expectations for the title. After one month of availability, the game had sold over 8.5 million copies. It broke three Guinness World Records on 13 May 2008: highest grossing video game in 24 hours, highest revenue generated by an entertainment product in 24 hours, and fastest-selling video game in 24 hours.[e] On 11 March 2011, Take-Two announced that the game had sold over 20 million copies, with the Grand Theft Auto series surpassing a collective total of 100 million copies. As of July 2013, the game has sold over 25 million copies, making it one of the best-selling video games, and one of the best-selling games on both PlayStation 3 and Xbox 360. All sales records broken by Grand Theft Auto IV were beaten by its successor, Grand Theft Auto V. In the United Kingdom, the game became the fastest-selling game of all time, selling over 631,000 copies in twenty-four hours. This broke the record set by Grand Theft Auto: San Andreas at 501,000 copies over the same period. During the first five days of availability, the game sold over 927,000 copies in the United Kingdom. In the United States, Grand Theft Auto IV sold 2.85 million units in its first five days. By the end of 2008, the game had sold over 5.18 million copies in the US. In its first four days of availability in Japan, it sold 133,000 copies on the PlayStation 3 and 34,000 on the Xbox 360, according to Media Create. In its first week, the Windows version of Grand Theft Auto IV debuted at seventh place on the weekly charts; by the second week, it had left the top ten. Based on unique user counts, the game was the most played Games for Windows – Live game in 2009 and 2012, and the second-most played in 2011. Controversies In 2007, then-Florida lawyer Jack Thompson, known for his campaigns against the series, stated he would take measures to prevent the sale of Grand Theft Auto IV to minors. On 14 March, Take-Two filed a lawsuit against Thompson to preemptively restrict his attempts to ban the game from sale. Thompson responded by filing a countersuit accusing Take-Two of violating federal RICO statutes, committing perjury and obstruction of justice, and conspiring to deprive him of his civil rights. On 20 April, both parties reached a settlement agreeing to drop their lawsuits: Thompson was barred from suing to ban the sale or distribution of Take-Two's games but able to act as counsel in lawsuits by other parties, while Take-Two agreed to drop the contempt of court lawsuit against Thompson regarding alleged improper conduct during the court hearings for Rockstar's game Bully (2006). On 18 September 2007, Thompson filed a document with a federal court in Florida, claiming the assassination target of a mission in Grand Theft Auto IV is a lawyer character based upon himself. He threatened to "take necessary and proper means to stop release of the game" if the similarities were not removed. In April 2008, Thompson wrote a letter directed to the mother of Take-Two chairman Strauss Zelnick, in which he labelled Grand Theft Auto a "murder simulator" and criticised Zelnick's upbringing, comparing his Boy Scouts experience to Hitler Youth. Thompson subsequently claimed he sent the letter to Zelnick's lawyer, formulating it as a parody to induce "shame" in Zelnick. Following the release of the first trailer in March 2007, New York City officials criticised the choice of their city as inspiration for Liberty City; Peter Vallone Jr., chairman of the council's public safety committee, compared it to "setting Halo in Disneyland", and Police Commissioner Raymond Kelly called it "despicable to glamorize violence in games like these". A spokesman for mayor Michael Bloomberg said "the mayor does not support any video game where you earn points for injuring or killing police officers". Jason Della Rocca, executive director of the International Game Developers Association, accused city officials of double standards for criticising video games but avoiding the argument for books, films, and television series set in the city. In April 2008, non-profit organisation Mothers Against Drunk Driving (MADD) criticised the ability to drive drunk in the game. MADD requested the Entertainment Software Rating Board change the rating of the game to "Adults Only", effectively removing it from sale. They asked Take-Two and Rockstar to consider halting distribution out of a sense of social responsibility and respect for victims of driving under the influence. Rockstar said it respected MADD's work but felt the game's audience "is more than sophisticated enough to understand the game's content", adding "you can't judge Grand Theft Auto IV by a small aspect of the game". On his program in May 2008, conservative American radio host Glenn Beck used the game as an example of violence in video games "training our kids to be killers", erroneously stating the player can attack police officers with a chainsaw; Kombo's David Oxford rebutted that the game is not targeted at children. Beck said games like Grand Theft Auto IV were being used to make militaries more violent; Destructoid's James Stephanie Sterling countered that violent wars occurred prior to the creation of video games. Computer and Video Games's Robinson compared Beck's "rant" to the game's satirical radio shows. There is nothing in the game you would not see in a TV show, or a movie a hundred times over ... We set out to make games that felt like they could culturally exist alongside the movies we were watching and the books we were reading — Dan Houser, writer, May 2008 In June 2008, six teenagers who were arrested for robbery in New Hyde Park, New York, claimed they were inspired by Grand Theft Auto IV, according to the Nassau County Police Department. In August, an 18-year-old student was arrested in Bangkok for the murder of a taxi driver after attempting to hijack the vehicle; according to the police captain, the student "wanted to find out if it was as easy in real life to rob a taxi as it was in the game". The game was subsequently banned in Thailand. In August 2013, 87-year-old Marie Smothers was killed in Slaughter, Louisiana, when her eight-year-old grandson shot her in the head with a handgun after playing Grand Theft Auto IV; under state law, the boy could not be charged for her death due to his age. Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Mushroom_poisoning] | [TOKENS: 3287] |
Contents Mushroom poisoning Mushroom poisoning is poisoning resulting from the ingestion of mushrooms that contain toxic substances. Symptoms can vary from slight gastrointestinal discomfort to death in about 10 days. Mushroom toxins are secondary metabolites produced by the fungus. Mushroom poisoning is usually the result of ingestion of wild mushrooms after misidentification of a toxic mushroom as an edible species. The most common reason for this misidentification is a close resemblance in terms of color and general morphology of the toxic mushrooms species with edible species. To prevent mushroom poisoning, mushroom gatherers familiarize themselves with the mushrooms they intend to collect, as well as with any similar-looking toxic species. The safety of eating wild mushrooms may depend on methods of preparation for cooking. Some toxins, such as amatoxins, are thermostable and mushrooms containing such toxins will not be rendered safe to eat by cooking. Signs and symptoms Poisonous mushrooms contain a variety of different toxins that can differ markedly in toxicity. Symptoms of mushroom poisoning may vary from gastric upset to organ failure resulting in death. Serious symptoms do not always occur immediately after eating, often not until the toxin attacks the kidney or liver, sometimes days or weeks later. The most common consequence of mushroom poisoning is simply gastrointestinal upset. Most "poisonous" mushrooms contain gastrointestinal irritants that cause vomiting and diarrhea (sometimes requiring urgent care), but usually no long-term damage. However, there are a number of recognized mushroom toxins with specific, and sometimes deadly, effects: The period between ingestion and the onset of symptoms varies dramatically between toxins, some taking days to show symptoms identifiable as mushroom poisoning. Causes New species of fungi are continuing to be discovered, with an estimated number of 800 new species registered annually. This, added to the fact that many investigations have recently reclassified some species of mushrooms from edible to poisonous has made older classifications insufficient at describing what now is known about the different species of fungi that are harmful to humans. It is now thought that of the approximately 100,000 known fungi species found worldwide, about 100 of them are poisonous to humans. However, by far the majority of mushroom poisonings are not fatal, and the majority of fatal poisonings are attributable to the Amanita phalloides mushroom. A majority of these cases are due to mistaken identity. This is a common occurrence with A. phalloides in particular, due to its resemblance to the Asian paddy-straw mushroom, Volvariella volvacea. Both are light-colored and covered with a universal veil when young.[citation needed] Amanitas can be mistaken for other species, as well, in particular when immature. On at least one occasion they have been mistaken for Coprinus comatus. In this case, the victim had some limited experience in identifying mushrooms, but did not take the time to correctly identify these particular mushrooms until after he began to experience symptoms of mushroom poisoning. The author of Mushrooms Demystified, David Arora cautions puffball-hunters to beware of Amanita "eggs", which are Amanitas still entirely encased in their universal veil. Amanitas at this stage are difficult to distinguish from puffballs. Foragers are encouraged to always cut the fruiting bodies of suspected puffballs in half, as this will reveal the outline of a developing Amanita should it be present within the structure. A majority of mushroom poisonings, in general, are the result of small children, especially toddlers in the "grazing" stage, ingesting mushrooms found on the lawn. While this can happen with any mushroom, Chlorophyllum molybdites is often implicated due to its preference for growing in lawns. C. molybdites causes severe gastrointestinal upset but is not considered deadly poisonous. A few poisonings are the result of misidentification while attempting to collect hallucinogenic mushrooms for recreational use. In 1981, one fatality and two hospitalizations occurred following consumption of Galerina marginata, mistaken for a Psilocybe species. Galerina and Psilocybe species are both small, brown, and sticky, and can be found growing together. However, Galerina contains amatoxins, the same poison found in the deadly Amanita species. Another case reports kidney failure following ingestion of Cortinarius orellanus, a mushroom containing orellanine. It is natural that accidental ingestion of hallucinogenic species also occurs, but is rarely harmful when ingested in small quantities. Cases of serious toxicity have been reported in small children. Amanita pantherina, while containing the same hallucinogens as Amanita muscaria (e.g., ibotenic acid and muscimol), has been more commonly associated with severe gastrointestinal upset than its better-known counterpart. Although usually not fatal, Omphalotus spp., "Jack-o-lantern mushrooms", are another cause of sometimes significant toxicity. They are sometimes mistaken for chanterelles. Both are bright-orange and fruit at the same time of year, although Omphalotus grows on wood and has true gills rather than the veins of a Cantharellus. They contain toxins known as illudins, which causes gastrointestinal symptoms. Bioluminescent species are generally inedible and often mildly toxic.[citation needed] Clitocybe dealbata, which is occasionally mistaken for an oyster mushroom or other edible species contains muscarine. Toxicities can also occur with collection of morels. Even true morels, if eaten raw, will cause gastrointestinal upset. Typically, morels are thoroughly cooked before eating. Verpa bohemica, although referred to as "thimble morels" or "early morels" by some, have caused toxic effects in some individuals. Gyromitra spp., "false morels", are deadly poisonous if eaten raw. They contain a toxin called gyromitrin, which can cause neurotoxicity, gastrointestinal toxicity, and destruction of the blood cells. The Finns consume Gyromitra esculenta after parboiling, but this may not render the mushroom entirely safe, resulting in its being called the "fugu of the Finnish cuisine".[citation needed] A more unusual toxin is coprine, a disulfiram-like compound that is harmless unless ingested within a few days of ingesting alcohol. It inhibits aldehyde dehydrogenase, an enzyme required for breaking down alcohol. Thus, the symptoms of toxicity are similar to being hung over—flushing, headache, nausea, palpitations, and, in severe cases, trouble breathing. Coprinus species, including Coprinopsis atramentaria, contain coprine. Coprinus comatus does not, but it is best to avoid mixing alcohol with other members of this genus. Recently,[when?] poisonings have also been associated with Amanita smithiana. These poisonings may be due to orellanine, but the onset of symptoms occurs in 4 to 11 hours, which is much quicker than the 3 to 20 days normally associated with orellanine. Paxillus involutus is also inedible when raw, but is eaten in Europe after pickling or parboiling. However, after the death of the German mycologist Dr. Julius Schäffer, it was discovered that the mushroom contains a toxin that can stimulate the immune system to attack its red blood cells. This reaction is rare but can occur even after safely eating the mushroom for many years. Similarly, Tricholoma equestre was widely considered edible and good, until it was connected with rare cases of rhabdomyolysis. In the fall of 2004, thirteen deaths were associated with consumption of Pleurocybella porrigens or "angel's wings". In general, these mushrooms are considered edible. All the victims died of an acute brain disorder, and all had pre-existing kidney disease. The exact cause of the toxicity was not known at this time and the deaths cannot be definitively attributed to mushroom consumption. However, mushroom poisoning is not always due to mistaken identity. For example, the highly toxic ergot Claviceps purpurea, which grows on rye, is sometimes ground up with rye, unnoticed, and later consumed. This can cause devastating, even fatal, effects, called ergotism. Cases of idiosyncratic or unusual reactions to fungi can also occur. Some are probably due to allergy, others to some other kind of sensitivity. It is not uncommon for a person to experience gastrointestinal upset associated with one particular mushroom species or genus. Some mushrooms might concentrate toxins from their growth substrate, such as Chicken of the Woods growing on yew trees. Of the most lethal mushrooms, five—the death cap (A. phalloides), the three destroying angels (A. virosa, A. bisporigera, and A. ocreata), and the fool's mushroom (A. verna)—belong to the genus Amanita, and two more—the deadly webcap (C. rubellus), and the fool's webcap (C. orellanus)—are from the genus Cortinarius. Several species of Galerina, Lepiota, and Conocybe also contain lethal amounts of amatoxins. Deadly species are listed in the List of deadly fungi.[citation needed] The following species may cause great discomfort, sometimes requiring hospitalization, but are not considered deadly. Evolution Many different species of mushrooms are poisonous and contain differing toxins that cause different types of harm. The most common toxin that causes severe poisoning is amatoxin, found in various mushroom species that cause the most fatalities every year. Amanita phalloides, or the "death cap", is a type of mushroom named for its substantial amount of amatoxin, which has about 10 mg per mushroom, which is the lethal dose. Amatoxin blocks the replication of DNA, which leads to cell death. This can affect cells that replicate frequently, such as kidneys, livers, and eventually, the central nervous system. It can also cause the loss of muscle contraction and liver failure. Despite the severe and dangerous symptoms, amatoxin poisoning is treatable given quick, professional care. Mushrooms have also been found to have evolved toxicity independently from each other. Researchers have found that different mushroom species share the same type of amatoxin called amanitin. They specifically looked at three of the deadliest species, Amanita, Galerina, and Lepiota. Through genome sequencing, a scientific process that determines the DNA sequence of an organism's genome, they determined that these unrelated mushrooms obtained the genetic information to produce the toxin via horizontal gene transfer. Once assimilated, it can then be passed down to an offspring. The researchers also concluded that there is "an unknown ancestral fungal donor," that allowed for horizontal gene transfer. Mushroom toxins have appeared and disappeared many times throughout their evolutionary history. Many scientists believe that the toxins evolved in mushrooms are used to deter predation from fungivores, including mammals. If mushrooms are consumed, it can negatively affect their ability to disperse spores, survive, and reproduce. Snails and insects are fungivores and many have learned or evolved to avoid eating poisonous mushrooms. However, it is believed that mammals pose a higher threat to mushrooms than fungivores, as larger body sizes mean they are more capable of eating an entire fungus in one sitting. Some phenotypes, or observable characteristics, may co-occur with toxicity, and therefore act as a warning signal. The first potential warning sign is aposematism, which is an adaptation that warns off predators based on a physical trait of an organism. In this case, the researchers were interested in observing whether the color of a mushroom deters predators. This would suggest that toxic mushrooms are of different colors than non-poisonous ones. The visual cue of some colors should be enough for predators to know not to consume the mushroom. The second possible warning sign is olfactory aposematism, a similar concept, but instead of focusing on color, the odor of the mushroom would be what deters predation. This would again indicate that poisonous mushrooms would emit a different odor than non-poisonous ones. Alternatively, is the ability of organisms to learn from other organisms. This would suggest that avoidance of toxic mushrooms is a learned behavior. Organisms may avoid toxic mushrooms if they observed other organisms of the same species consume the fungus. Learned behavior is when an organism learns how to behave based on previous experiences. Some researchers believe that if an organism got sick or observed another organism get sick from consuming a poisonous mushroom, then they would know not to continue consuming it for fear of getting sick again. An analysis of 245 North American mushroom species and 265 from Europe, revealed 21.2% of the North American species and 12.1% of the European ones as poisonous. After collecting this information, and using a neural network to classify all of the mushrooms based on color and odor, the researchers concluded that there was no correlation between cap color and mushrooms containing toxins. The cap is the top, rounded part of a mushroom and comes in different colors. This proposes that the cap color does not act as a warning sign to deter predators, providing no evidence that poisonous mushrooms may not signal their toxicity through visual or chemical traits. The three deadly mushrooms listed above, Amanita, Galerina, and Lepiota, are all of different colors, consisting of reds, yellows, browns, and whites. A possible theory as to why color is not a factor in determining whether a mushroom is poisonous is the fact that many of its predators are nocturnal and have poor vision. Therefore, viewing the different colors is difficult, and could result in inaccurate consumption. The study, however, did suggest that poisonous mushrooms do emit a smell that is unpleasant and therefore discourages consumption. Despite this result, there is no definitive evidence to suggest if the odor is a result of the production of the toxin or if it is intended as a warning signal. Additionally, many of the odors are not picked up by humans. This could suggest that there is another characteristic difference between poisonous and non-poisonous mushrooms to avoid predation from larger mammals or that there is another purpose for some mushrooms being poisonous that is not dependent on predators. Prognosis and treatment Some mushrooms contain compounds of lower toxicity and, therefore, are not severely poisonous. Poisonings by these mushrooms may respond well to treatment. However, certain types of mushrooms contain very potent toxins and are very poisonous; so even if symptoms are treated promptly, mortality is high. With some toxins, death can occur in a week or a few days. Although a liver or kidney transplant may save some patients with complete organ failure, in many cases there are no organs available. Patients hospitalized and given aggressive support therapy almost immediately after ingestion of amanitin-containing mushrooms have a mortality rate of only 10%, whereas those admitted 60 or more hours after ingestion have a 50–90% mortality rate. In the United States, mushroom poisoning kills an average of about 3 people a year. According to National Poison Data System (NPDS) annual reports published by America's Poison Centers, the average number of deaths occurring over a ten-year period (2012–2020) sits right at 3 a year. In 2012, 4 out of the 7 total deaths that occurred that year, were attributed to a single event where a "housekeeper at a Board and Care Home for elderly dementia patients collected and cooked wild (Amanita) mushrooms into a sauce that she consumed with six residents of the home.". Over 1,300 emergency room visits in the United States were attributed to poisonous mushroom ingestion in 2016, with about 9% of patients experiencing a serious adverse outcome. Society and culture Many old wives' tales concern the defining features of poisonous mushrooms. However, there are no general identifiers for poisonous mushrooms, so such beliefs are unreliable. Guidelines to identify particular mushrooms exist, and will serve only if one knows which mushrooms are toxic.[citation needed] Examples of erroneous folklore "rules" include: See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Skygack] | [TOKENS: 486] |
Contents Mr. Skygack, from Mars Mr. Skygack, from Mars was a comic strip by the American cartoonist A. D. Condo. It appeared in the Chicago Day Book, a Chicago working-class newspaper, from October 2, 1907, to April 1911 in about 400 comic strips and single panels. Like much of Condo's work in this period, the Mr. Skygack feature was syndicated and appeared in many other papers, including The Seattle Star, The Milwaukee Journal, The Spokane Press, The Pittsburgh Press, The Tacoma Times and The Duluth Daily Star. The comic followed the titular Mr. Skygack, a Martian, on his mission to study humans. Mr. Skygack's comical misunderstandings of Earthly affairs gave Condo the opportunity to comment on and criticize social norms. Skygack subsequently appeared as a regular character in Condo's ethnic-humor comic strip Osgar und Adolf. 'Osgar und Adolf' was itself the basis for a theatrical production which included Skygack as a character; it was described by Gertrude Gordon in The Pittsburgh Press as a 'rousing good comedy'. In 1914, 'Osgar Und Adolph', still incorporating Skygack as a regular character, was drawn by a cartoonist signing themselves 'Macdonald'. Between 1921 and 1922 the character was revived in his own right, once again in a single-panelled strip reporting on everyday American life, by another cartoonist, 'Lavery'. Mr. Skygack, from Mars is considered by many to be the first science fiction comic, and the first in comics history to feature an extraterrestrial character. It also gave rise to the first recorded sci-fi cosplay when a Mr. William Fell was reported wearing a Mr. Skygack costume to a 1908 masquerade. In 1923, James W. Dean's syndicated column posited that 'Martian' characters with 'overdeveloped heads' played by Margaret Irving and Grant Mitchell in the film M.A.R.S. (later known as Radio-Mania) were 'evidently... influenced by the old comic drawn by Condo, "Mr. Skygack from Mars."' References External links This comic strip–related article is a stub. You can help Wikipedia by adding missing information. |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_note-11] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Zoetrope] | [TOKENS: 4702] |
Contents Zoetrope A zoetrope is a pre-film animation device that produces the illusion of motion, by displaying a sequence of drawings or photographs showing progressive phases of that motion. A zoetrope is a cylindrical variant of the phénakisticope, an apparatus suggested after the stroboscopic discs were introduced in 1833. The definitive version of the zoetrope, with replaceable film picture film strips, was introduced as a toy by Milton Bradley in 1866 and became very successful. Etymology The name zoetrope was composed from the Greek root words ζωή zoe, "life" and τρόπος tropos, "turning" as a translation of "wheel of life". The term was coined by inventor William E. Lincoln, of Providence, Rhode Island. Technology The zoetrope consists of a cylinder with cuts vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the cuts at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 19th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed. The zoetrope works on the same principle as its predecessor, the phenakistoscope, but is more convenient and allows the animation to be viewed by several people at the same time. Instead of being radially arrayed on a disc, the sequence of pictures depicting phases of motion is on a paper strip. For viewing, this is placed against the inner surface of the lower part of an open-topped metal drum, the upper part of which is provided with a vertical viewing slit across from each picture. The drum, on a spindle base, is spun. The faster the drum is spun, the smoother the animation appears. Earlier rotating devices with images An earthenware bowl from Iran, over 5000 years old, could be considered a predecessor of the zoetrope. This bowl is decorated in a series of images portraying a goat jumping toward a tree and eating its leaves. Though the images are sequential and seem evenly distributed around the bowl, to have the images appear as an animation the bowl would have to rotate quite fast and steadily while a stroboscopic effect would somehow have to be generated. As such, it remains very uncertain if the artist who created the bowl actually intended to create an animation. According to a 4th-century Chinese historical text, the 1st-century BC Chinese mechanical engineer and craftsman Ding Huan created a lamp with a circular band with images of birds and animals that moved "quite naturally" when the heat of the lamp caused the band to rotate. However, it is unclear whether this really created the illusion of motion or whether the account was an interpretation of the spatial movement of the pictures of animals. Possibly the same device was referred to as "umbrella lamp" and mentioned as "a variety of zoetrope" which "may well have originated in China" by historian of Chinese technology Joseph Needham. It had pictures painted on thin panes of paper or mica on the sides of a light cylindrical canopy bearing vanes at the top. When placed over a lamp it would give an impression of movement of animals or men. Needham mentions several other descriptions of figures moving after the lighting of a candle or lamp, but some of these have a semi-fabulous context or can be compared to heat operated carousel toys. It is possible that all these early Chinese examples were actually the same as, or very similar to, the "trotting horse lamp" [走馬燈] known in China since before 1000 AD. This is a lantern which on the inside has cut-out silhouettes or painted figures attached to a shaft with a paper vane impeller on top, rotated by heated air rising from a lamp. The moving silhouettes are projected on the thin paper sides of the lantern. Some versions added extra motion with jointed heads, feet or hands of figures triggered by a transversely connected iron wire. None of these lamps are known to have featured sequential substitution of images depicting motion and thus don't display animation in the way that the zoetrope does. John Bate described a simple device in his 1634 book "The Mysteries of Nature and Art". It consisted of "a light Card, with severall images set upon it", fastened on the four spokes of a wheel, which was turned around by heat inside a glass or horn cylinder, "ſo that you would think the immages to bee living creatures by their motion". The description seems rather close to a simple four-phase animation device depicted and described in Henry V. Hopwood's 1899 book Living Pictures (see picture). Hopwood gave no name, date or any additional information for this toy that rotated when blown upon. A similar device inside a small zoetrope drum with four slits, was marketed around 1900 by a Parisian company as L'Animateur (or The Animator). However, Bate's device as it is seen in the accompanying illustration seems not to have actually animated the images, but rather to have moved the images around spatially. Invention Simon Stampfer, one of the inventors of the phenakistiscope animation disc (or "stroboscopic discs" as he called them), suggested in July 1833 in a pamphlet that the sequence of images for the stroboscopic animation could alternatively be placed on a cylinder, or a looped strip of paper or canvas stretched around two parallel rollers. After taking notice of Joseph Plateau's invention of the phénakisticope (published in London as "phantasmascope") British mathematician William George Horner thought up a cylindrical variation and published details about its mathematical principles in January 1834. He called his device the Dædaleum, as a reference to the Greek myth of Daedalus. Horner's revolving drum had viewing slits between the pictures, instead of above as the later zoetrope variations would have. Horner planned to publish the dædaleum with optician King, Jr in Bristol but it "met with some impediment probably in the sketching of the figures". During the next three decades, the phénakisticope remained the more common animation device, while only a few experimental variations followed the idea of Horner's dædaleum or Stampfer's stroboscopic cylinder. Many of the zoetrope-like devices created between 1833 and 1865 were intended for viewing photographic sequences, often with a stereoscopic effect. These included Johann Nepomuk Czermak's Stereophoroskop, about which he published an article in 1855. On February 27, 1860, Peter Hubert Desvignes received British patent no. 537 for 28 monocular and stereoscopic variations of cylindrical stroboscopic devices. This included a version that used an endless band of pictures running between two spools that was intermittently lit by an electric spark. Desvignes' Mimoscope, received an Honourable Mention "for ingenuity of construction" at the 1862 International Exhibition in London. It could "exhibit drawings, models, single or stereoscopic photographs, so as to animate animal movements, or that of machinery, showing various other illusions". Desvignes "employed models, insects and other objects, instead of pictures, with perfect success". The horizontal slits (like in Czermak's Stereophoroskop) allowed a much improved view, with both eyes, of the opposite pictures. William Ensign Lincoln invented the definitive zoetrope in 1865 when he was about 18 years old and a sophomore at Brown University, Providence, Rhode Island. Lincoln's patented version had the viewing slits on a level above the pictures, which allowed the use of easily replaceable strips of images. It also had an illustrated paper disc on the base, which was not always exploited on the commercially produced versions. On advice of a local bookstore owner, Lincoln sent a model to color lithographers and board game manufacturers Milton Bradley and Co. Some shop owners advertised the zoetrope in American newspapers in December 1866. William E. Lincoln applied for a U.S. patent for his Zoëtrope on July 27, 1866 as an assignor to Milton Bradley, and it was granted on April 23, 1867. It was also patented in the United Kingdom of Great Britain and Ireland on June 7, 1867 (application March 6, 1867) under no. 629, by Henry Watson Hallett (as a communication to him by Milton Bradley), and in the Second French Empire by Charles William May (filed May 14, 1867). Over the years Milton Bradley released at least seven numbered series of twelve zoetrope strips each, as well as a set of twelve strips by Professor Robert Hallowell Richards showing the gradual transformations from one isometric form to another, and one separately available strip showing the progress of the Grecian bend (a woman morphing into a camel). The London Stereoscopic and Photographic Company was licensed as the British publisher and repeated most of the Milton Bradley animations, while adding a set of twelve animations by famous British illustrator George Cruikshank in 1870. French licensee F. Delacour & Bakes produced the "Zootrope, ou cercle magique", of which newspaper Le Figaro ordered 10,000 copies to sell to subscribers at a reduced price. In 1868 James Clerk Maxwell had an improved zoetrope constructed. Instead of slits it used concave lenses with a focal length equaling the diameter of the cylinder. The virtual image was thus seen in the centre and appeared much more sharp and steady than in the original zoetrope. Maxwell drew several strips that mostly demonstrated subjects relating to physics, like the vibrations of a harp string or Helmholtz's vortex rings threading through each other. An article about the "Zootrope perfectionné" was published in French scientific magazine Le Cosmos in 1869, but the device was never marketed. Maxwell's original zoetrope and some strips are kept in the collection of the Cavendish Museum in Cambridge. Linear zoetropes A linear zoetrope consists of an opaque linear screen with thin vertical slits in it. Behind each slit is an image, often illuminated. A motion picture is seen by moving past the display. Linear zoetropes have several differences compared to cylindrical zoetropes due to their different geometries. Linear zoetropes can have arbitrarily long animations and can cause images to appear wider than their actual sizes. Linear zoetrope-like advertising was in use in Japan in the early 1990s, for example on the line between the Narita airport and central Tokyo. In September 1980, independent filmmaker Bill Brand installed a type of linear zoetrope he called the "Masstransiscope" in an unused subway platform at the former Myrtle Avenue station on the New York City Subway. It consists of a wall with 228 slits; behind each slit is a hand-painted panel, and riders of passing trains see a motion picture. After falling into a state of disrepair, the "Masstransiscope" was restored in late 2008. Since then, a variety of artists and advertisers have begun to use subway tunnel walls to produce a zoetrope effect when viewed from moving trains. Joshua Spodek, as an astrophysics graduate student, conceived of and led the development of a class of linear zoetropes that saw the zoetrope's first commercial success in over a century. A display of his design debuted in September 2001 in the Atlanta subway system tunnel and showed an advertisement to riders moving past. The display is internally lit and nearly 980 feet (300 m) long, with an animation lasting around 20 seconds. His design soon appeared, both commercially and artistically, in subway systems around North America, Asia, and Europe. In April 2006, the Washington Metro installed advertisement zoetropes between the Metro Center and Gallery Place subway stations. A similar advertisement was installed on the PATH train in New Jersey, between the World Trade Center and Exchange Place stations. At around the same time, the San Francisco Bay Area Rapid Transit (BART) system installed a zoetrope-type advertisement between the Embarcadero and Montgomery stations which could be viewed by commuters traveling in either direction. The BART ads are still visible, though they are changed infrequently: a particular ad may remain up for several months before being replaced. The New York City Subway hosted two digital linear zoetropes through its Arts for Transit program. One, "Bryant Park in Motion", was installed in 2010 at the Bryant Park subway station, and was created by Spodek and students at New York University's Tisch School of Arts' Interactive Telecommunications Program. The other, "Union Square in Motion", was installed in 2011 by Spodek and students and alumni from Parsons the New School for Design's Art, Media, and Technology program in the Union Square station. The Kyiv Metro (in Kyiv, Ukraine) also featured an advertisement about 2008 for Life mobile telephone carrier in one of its subway tunnels that featured the zoetrope effect. It was quickly taken down. In Mexico City, Mexico, an advertisement for the Honda Civic featuring a zoetrope effect was placed in one of the Line 2 tunnels. The Zurich Airport Skymetro features a linear zoetrope. LAIKA animation studios designed a linear zoetrope featuring lip synced audio, a camera, flywheel and 3D printed faces in Brian McLean's TED talk. 3D zoetropes 3D zoetropes apply the same principle to three-dimensional models, as already practiced by Czermak (1855) and Desvignes (1860) in predecessors of the zoetrope. In 1887, Étienne-Jules Marey used a large zoetrope to animate a series of plaster models based on his chronophotographs of birds in flight. Modern equivalents normally dispense with the slitted drum and instead use a rapidly flashing strobe light to illuminate the models, producing much clearer and sharper distortion-free results. The models are mounted on a rotating base and the light flashes on and off within an extremely small fraction of a second as each successive model passes the same spot. The stroboscopic effect makes each seem to be a single animated object. By allowing the rotation speed to be slightly out of synchronization with the strobe, the animated objects can be made to appear to also move slowly forwards or backwards, according to how much faster or slower each rotation is than the corresponding series of strobe flashes. The Ghibli Museum in Tokyo, Japan hosts a 3D zoetrope featuring characters from the animated movie My Neighbor Totoro. The zoetrope is accompanied by an explanatory display, and is part of an exhibit explaining the principles of animation and historical devices. Pixar created a 3D zoetrope inspired by Ghibli's for its touring exhibition, which first showed at the Museum of Modern Art in New York City and features characters from Toy Story 2. Two more 3D Zoetropes were created by Pixar, both featuring 360-degree viewing. One was installed at Disney California Adventure, sister park to Disneyland, but has since been moved to The Walt Disney Studios Lot in Burbank, CA. The other was installed at Hong Kong Disneyland from 2010 until 2017, and is now shown in Disneyland Paris as of late 2019. The original Toy Story Zoetrope still travels worldwide and has been shown in 34 national museums and art galleries in 18 countries since 2005. All Things Fall is a 3D printed zoetrope, created by British artist Mat Collishaw. It is inspired by a painting by Ippolito Scarsella of The Massacre of Innocents. The work was presented during the solo exhibition Black Mirror at Galleria Borghese in Rome. It is made of steel, aluminium, plaster, resin, lit by LED lights and powered by an electric motor. Of his work, Collishaw says: "The zoetrope literally repeats characters to create an overwhelming orgy of violence that is simultaneously appalling and compelling." Each model figure was 3D printed with a fused deposition modeling technique in acrylonitrile butadiene styrene. Over the period 2002–2016, Peter Hudson and the makers at Spin Art, LLC, have created multiple interactive 3D stroboscopic zoetrope art installations. This began with Sisyphish (2002), a human powered zoetrope that used strobe light to animate human figures swimming on a large rotating disk. Sisyphish, sometimes called The Playa Swimmers, was originally unveiled at the arts and culture event, Burning Man, in the Black Rock Desert of Nevada. Peter has since created stroboscopic zoetropes from 2004 to present including: Deeper (2004), Homouroboros (2007), Tantalus (2008), and Charon, which toured Europe and the United Kingdom in summer of 2012. The Charon zoetrope is built to resemble and rotate in the same kinetic fashion as a ferris wheel, stands at 32 feet high, weighs 8 tons and features twenty rowing skeleton figures representing the mythological character, Charon, who carries souls of the newly deceased across the river Styx. Hudson's most recent zoetrope creation is entitled Eternal Return, took two years to build, and was unveiled in 2014 in the Black Rock Desert. Peter Hudson's zoetropes are based in San Francisco are exhibited at various festivals and special events in the United States and internationally throughout the year. Wick Alexander and Robin Brailsford's 2001 4-piece artwork titled "Moving Pictures" consists of 4 sculptural zoetropes at different public locations in Culver City, California. Giant zoetropes An 1857 textbook on physics mentioned an early cylindrical stroboscopic installation with moving images that was 18 feet (5.5 meters) in diameter and had been exhibited in Frankfurt. A "Great Zoetrope; or: Wheel of Life", 50 feet (15 meters) in circumference, with "life-size figures", was installed in the Concert Hall of the Crystal Palace in London by permission of the London Stereoscopic and Photographic Company. The programme featured at least four animations based on strips in their catalogue. The huge cylinder was turned around by a gas engine and was operative at least from late 1867 to spring 1868. In 2008, Artem Limited, a UK visual effects house, built a 10-meter wide, 10-metric ton zoetrope for Sony, called the BRAVIA-drome, to promote Sony's motion interpolation technology. It features 64 images of the Brazilian footballer Kaká. This has been declared the largest zoetrope in the world by Guinness World Records. In 2010, the artist Yishay Garbasz created a 3 meter wide zoetrope for the Busan Biennale with images of her naked body one year before to one year after her gender-affirming surgery. In 2014, Brazilian graffiti-street art duo OSGEMEOS made a large piece called “Untitled (Zoetrope)” featuring their characteristic yellow characters, with an accompanying animation of the zoetrope in motion. It is part of the OSGEMEOS: Endless Story exhibition at the Hirshhorn Museum and Sculpture Garden (2024-2025). Successors Émile Reynaud's 1877 praxinoscope was an improvement on the zoetrope that became popular toward the end of the 19th century. It replaced the zoetrope's narrow viewing slits with an inner circle of mirrors that intermittently reflected the images. Soon after the zoetrope became popular, the flip book was introduced in 1868. With its simplicity and compactness, along with its more tactile qualities, the flip book has stayed relatively popular. A disadvantage of the flip book can be seen in the fact that the animation stops rather quickly, while the zoetrope can display animation as a continuous loop.[citation needed] Eadweard Muybridge published his first chronophotography pictures in 1878. These sequential pictures were soon mounted in zoetropes by several people (including Muybridge himself) and were also published as strips for the zoetrope in the 1880s. This paved the way for the development of cinematography. Muybridge's own zoopraxiscope (1879) was an early moving image projector and one of several inventions made before the breakthrough of cinema in 1895.[citation needed] In 1895 Auguste and Louis Lumière were developing the Kinora simultaneously with the cinematograph. While cinema proved to be an enormous success, the Kinora became a popular motion picture viewer for home use.[citation needed] Film, television and video are seen as the prevailing successors of the zoetrope, when regarded as technological steps in the development of motion pictures. In digital media, GIF animation can arguably be seen as the closest contemporary successor of Zoetrope animation, since both usually show looped image sequences. In 2016, an inside-out variation of the zoetrope was invented and patented with the name Silhouette Zoetrope. The device was invented by the researcher Dr. Christine Veras, and it won third place in the Best Illusion of the Year Contest, paying homage to the classical zoetrope but displaying a unique combination of optical illusions. A digital successor to the zoetrope was invented in 2023 by Mike Ando. The Andotrope uses smartphones within a slotted cylinder to produce a 360º viewing angle for digital content. Contemporary media uses Since the late 20th century, zoetropes have seen occasional use for artwork, entertainment, marketing and other media use, notably as linear zoetropes and 3D zoetropes (see above).[citation needed] Making a zoetrope has also become a relatively common arts and crafts assignment and a means to explain some of the technical and optical principles of film and motion viewing in educational programs. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-20] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Protection_policy#cite_note-4] | [TOKENS: 5211] |
Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. An exception to this rule is when they are protected due to upload vandalism. Pages can be protected by Wikimedia Foundation staff in response to issues such as copyright infringement or libel as outlined in Foundation:Policy:Office actions § Use of advanced rights by Foundation staff. Such actions override community consensus. Administrators should not edit or unprotect such pages without permission from Wikimedia Foundation staff. Cascading protection fully protects a page, and extends that full protection automatically to any page that is transcluded onto the protected page, whether directly or indirectly. This includes templates, images and other media that are hosted on the English Wikipedia. Files stored on Commons are not protected by any other wiki's cascading protection and, if they are to be protected, must be either temporarily uploaded to the English Wikipedia or explicitly protected at Commons (whether manually or through cascading protection there). When operational, KrinkleBot cascade-protects Commons files transcluded at Wikipedia:Main Page/Tomorrow, Wikipedia:Main Page/Commons media protection and Main Page. As the bot's response time varies, media should not be transcluded on the main page (or its constituent templates) until after it has been protected. (This is particularly relevant to Template:In the news, for which upcoming images are not queued at Wikipedia:Main Page/Tomorrow.) Cascading protection: The list of cascading-protected pages can be found at Wikipedia:Cascade-protected items. Requests to add or remove cascading protection on a page should be made at Wikipedia talk:Cascade-protected items as an edit request. Operational pages principally used by software, including bots and user scripts, may be protected based on the type of use, content, and other considerations. This includes configuration pages, data pages, log pages, status pages, and other pages specific to the operation of software. However, personal CSS, personal JavaScript, and personal JSON are automatically protected and should not be protected for this reason. Some pages on Wikipedia are subject to software-enforced protection that administrators cannot change or remove. This is called permanent or indefinite protection, and interface protection in the case of CSS and JavaScript pages. Specifically, this applies to: Protection by namespace Modifications to a protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. Talk pages are not usually protected, and are semi-protected only for a limited duration in the most severe cases of disruption. User talk pages are rarely protected. However, protection can be applied if there is severe vandalism or abuse. Users whose talk pages are protected may wish to have an unprotected user talk subpage linked conspicuously from their main talk page to allow good-faith comments from users that the protection restricts editing from. A user's request to have their own talk page protected is not a sufficient rationale by itself to protect the page, although requests can be considered if a reason is provided. Blocked users' user talk pages should not ordinarily be protected, as this interferes with the user's ability to contest their block through the normal process. It also prevents others from being able to use the talk page to communicate with the blocked editor. In extreme cases of abuse by the blocked user, such as abuse of the {{unblock}} template, re-blocking the user with talk page access removed should be preferred over applying protection to the page. If the user has been blocked and with the ability to edit their user talk page disabled, they should be informed of this in a block notice, subsequent notice, or message, and it should include information and instructions for appealing their block off-wiki, such as through the UTRS tool interface or, as a last recourse, the Arbitration Committee. When required, protection should be implemented for only a brief period, not exceeding the duration of the block. Confirmed socks of registered users should be dealt with in accordance with Wikipedia:Sockpuppetry; their pages are not normally protected. Base user pages (for example, the page User:Example, and not User:Example/Lipsum or User talk:Example) are automatically protected from creation or editing by unconfirmed accounts and anonymous temporary account users. An exception is that unconfirmed registered users are allowed to create or edit their own user page. Temporary account editors and unconfirmed accounts are also unable to create or edit user pages that do not belong to a currently registered account. This protection is enforced by an edit filter. Users may opt-out of this protection by placing {{unlocked userpage}} anywhere on their own user page. User pages and subpages within their own user space can be protected upon a request from the user, as long as a need exists. Pages within the user space should not be automatically or preemptively protected without good reason or cause. Requests for protection specifically at uncommon levels (such as template protection) can be granted if the user has expressed a genuine and realistic need. When a filter is insufficient to stop user page vandalism, a user may choose to create a ".css" subpage (e.g., User:Example/monobook.css), copy all the contents of their user page onto the subpage, transclude the subpage by putting {{User:Example/monobook.css}} on their user page, and then ask an administrator to fully protect their user page. Because user space pages that end in ".css" and ".js" are editable only by the user to which that user space belongs and interface administrators, this will protect one's user page from further vandalism. In the event of the confirmed death of an editor, their user page (but not the user talk page) should be fully protected. Highly visible templates – those used on a large number of pages or frequently substituted – are often protected based on the degree of visibility, type of use, content, and other considerations. Protected templates should normally have the {{documentation}} template. It loads the unprotected /doc page, so that non-admins and IP-users can edit the documentation, categories and interwiki links. It also automatically adds {{pp-template}} to protected templates, which displays a small padlock in the top right corner and categorizes the template as protected. Only manually add {{pp-template}} to protected templates that do not use {{documentation}} (mostly the flag templates). Cascading protection should generally not be applied directly to templates, as it will not protect transclusions inside <includeonly> tags or transclusions that depend on template parameters, but will protect the template's documentation subpage. Instead, consider either of the following: Note: All editnotice templates (except those in userspace) are already protected via MediaWiki:Titleblacklist. They can be edited by admins, template editors and page movers only. Sandboxes should not ordinarily be protected since their purpose is to let new users test and experiment with wiki syntax. Most sandboxes are automatically cleaned every 12 hours, although they are frequently overwritten by other testing users. The Wikipedia:Sandbox is cleaned every hour. Those who use sandboxes for malicious purposes, or to violate policies such as no personal attacks, civility, or copyrights, should instead be warned and/or blocked. Available templates The following templates can be added at the very top of a page to indicate that it is protected: On redirect pages, use the {{Redirect category shell}} template, which automatically categorizes by protection level, below the redirect line. A protection template may also be added below the redirect line, but it will serve only to categorize the page, as it will not be visible on the page, and it will have to be manually removed when protection is removed. Retired protections Superprotect was a level of protection, allowing editing only by Wikimedia Foundation employees who were in the Staff global group. It was implemented on August 10, 2014 and removed on November 5, 2015. It was never used on the English Wikipedia. For several years, the Gadget namespace (which no longer exists) could only be edited by WMF staff, which has sometimes been referred to as superprotection even though it is unrelated to the above use. Cascading semi-protection was formerly possible, but it was disabled in 2007 after users noticed that non-administrators could fully protect any page by transcluding it onto the page to which cascading semi-protection had been applied by an administrator. Originally, two levels of pending changes protection existed, where level 2 required edits by all users who were not pending changes reviewers to be reviewed. Following a community discussion, level 2 was retired from the English Wikipedia in January 2017. Since that change, "pending changes level 1" is generally referred to as just "pending changes". See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Surface_(mathematics)] | [TOKENS: 3770] |
Contents Surface (mathematics) In mathematics, a surface is a mathematical model of the common concept of a surface. It is a generalization of a plane, but, unlike a plane, it may be curved (this is analogous to a curve generalizing a straight line). An example of a non-flat surface is the sphere. There are several more precise definitions, depending on the context and the mathematical tools that are used for the study. The simplest mathematical surfaces are planes and spheres in the Euclidean 3-space. Typically, in algebraic geometry, a surface may cross itself (and may have other singularities), while, in topology and differential geometry, it may not. A surface is a topological space of dimension two; this means that a moving point on a surface may move in two directions (it has two degrees of freedom). In other words, around almost every point, there is a coordinate patch on which a two-dimensional coordinate system is defined. For example, the surface of the Earth resembles (ideally) a sphere, and latitude and longitude provide two-dimensional coordinates on it (except at the poles and along the 180th meridian). Definitions Often, a surface is defined by equations that are satisfied by the coordinates of its points. This is the case for the graph of a continuous function of two variables. The set of the zeros of a function of three variables is a surface, which is called an implicit surface. If the defining three-variable function is a polynomial, the surface is an algebraic surface. For example, the unit sphere is an algebraic surface, as it may be defined by the implicit equation A surface may also be defined as the image, in some space of dimension at least 3, of a continuous function of two variables (some further conditions are required to ensure that the image is not a curve). In this case, one says that one has a parametric surface, which is parametrized by these two variables, called parameters. For example, the unit sphere may be parametrized by the Euler angles, also called longitude u and latitude v by Parametric equations of surfaces are often irregular at some points. For example, all but two points of the unit sphere, are the image, by the above parametrization, of exactly one pair of Euler angles (modulo 2π). For the remaining two points (the north and south poles), one has cos v = 0, and the longitude u may take any values. Also, there are surfaces for which there cannot exist a single parametrization that covers the whole surface. Therefore, one often considers surfaces which are parametrized by several parametric equations, whose images cover the surface. This is formalized by the concept of manifold: in the context of manifolds, typically in topology and differential geometry, a surface is a manifold of dimension two; this means that a surface is a topological space such that every point has a neighborhood which is homeomorphic to an open subset of the Euclidean plane (see Surface (topology) and Surface (differential geometry)). This allows defining surfaces in spaces of dimension higher than three, and even abstract surfaces, which are not contained in any other space. On the other hand, this excludes surfaces that have singularities, such as the vertex of a conical surface or points where a surface crosses itself. In classical geometry, a surface is generally defined as a locus of a point or a line. For example, a sphere is the locus of a point which is at a given distance of a fixed point, called the center; a conical surface is the locus of a line passing through a fixed point and crossing a curve; a surface of revolution is the locus of a curve rotating around a line. A ruled surface is the locus of a moving line satisfying some constraints; in modern terminology, a ruled surface is a surface, which is a union of lines. Terminology There are several kinds of surfaces that are considered in mathematics. An unambiguous terminology is thus necessary to distinguish them when needed. A topological surface is a surface that is a manifold of dimension two (see § Topological surface). A differentiable surface is a surfaces that is a differentiable manifold (see § Differentiable surface). Every differentiable surface is a topological surface, but the converse is false. A "surface" is often implicitly supposed to be contained in a Euclidean space of dimension 3, typically R3. A surface that is contained in a projective space is called a projective surface (see § Projective surface). A surface that is not supposed to be included in another space is called an abstract surface. Examples Parametric surface A parametric surface is the image of an open subset of the Euclidean plane (typically R 2 {\displaystyle \mathbb {R} ^{2}} ) by a continuous function, in a topological space, generally a Euclidean space of dimension at least three. Usually the function is supposed to be continuously differentiable, and this will be always the case in this article. Specifically, a parametric surface in R 3 {\displaystyle \mathbb {R} ^{3}} is given by three functions of two variables u and v, called parameters As the image of such a function may be a curve (for example, if the three functions are constant with respect to v), a further condition is required, generally that, for almost all values of the parameters, the Jacobian matrix has rank two. Here "almost all" means that the values of the parameters where the rank is two contain a dense open subset of the range of the parametrization. For surfaces in a space of higher dimension, the condition is the same, except for the number of columns of the Jacobian matrix. A point p where the above Jacobian matrix has rank two is called regular, or, more properly, the parametrization is called regular at p. The tangent plane at a regular point p is the unique plane passing through p and having a direction parallel to the two row vectors of the Jacobian matrix. The tangent plane is an affine concept, because its definition is independent of the choice of a metric. In other words, any affine transformation maps the tangent plane to the surface at a point to the tangent plane to the image of the surface at the image of the point. The normal line at a point of a surface is the unique line passing through the point and perpendicular to the tangent plane; a normal vector is a vector which is parallel to the normal line. For other differential invariants of surfaces, in the neighborhood of a point, see Differential geometry of surfaces. A point of a parametric surface which is not regular is irregular. There are several kinds of irregular points. It may occur that an irregular point becomes regular, if one changes the parametrization. This is the case of the poles in the parametrization of the unit sphere by Euler angles: it suffices to permute the role of the different coordinate axes for changing the poles. On the other hand, consider the circular cone of parametric equation The apex of the cone is the origin (0, 0, 0), and is obtained for t = 0. It is an irregular point that remains irregular, whichever parametrization is chosen (otherwise, there would exist a unique tangent plane). Such an irregular point, where the tangent plane is undefined, is said singular. There is another kind of singular points. There are the self-crossing points, that is the points where the surface crosses itself. In other words, these are the points which are obtained for (at least) two different values of the parameters. Let z = f(x, y) be a function of two real variables, a bivariate function. This is a parametric surface, parametrized as Every point of this surface is regular, as the two first columns of the Jacobian matrix form the identity matrix of rank two. A rational surface is a surface that may be parametrized by rational functions of two variables. That is, if fi(t, u) are, for i = 0, 1, 2, 3, polynomials in two indeterminates, then the parametric surface, defined by is a rational surface. A rational surface is an algebraic surface, but most algebraic surfaces are not rational. Implicit surface An implicit surface in a Euclidean space (or, more generally, in an affine space) of dimension 3 is the set of the common zeros of a differentiable function of three variables Implicit means that the equation defines implicitly one of the variables as a function of the other variables. This is made more exact by the implicit function theorem: if f(x0, y0, z0) = 0, and the partial derivative in z of f is not zero at (x0, y0, z0), then there exists a differentiable function φ(x, y) such that in a neighbourhood of (x0, y0, z0). In other words, the implicit surface is the graph of a function near a point of the surface where the partial derivative in z is nonzero. An implicit surface has thus, locally, a parametric representation, except at the points of the surface where the three partial derivatives are zero. A point of the surface where at least one partial derivative of f is nonzero is called regular. At such a point ( x 0 , y 0 , z 0 ) {\displaystyle (x_{0},y_{0},z_{0})} , the tangent plane and the direction of the normal are well defined, and may be deduced, with the implicit function theorem from the definition given above, in § Tangent plane and normal vector. The direction of the normal is the gradient, that is the vector The tangent plane is defined by its implicit equation A singular point of an implicit surface (in R 3 {\displaystyle \mathbb {R} ^{3}} ) is a point of the surface where the implicit equation holds and the three partial derivatives of its defining function are all zero. Therefore, the singular points are the solutions of a system of four equations in three indeterminates. As most such systems have no solution, many surfaces do not have any singular point. A surface with no singular point is called regular or non-singular. The study of surfaces near their singular points and the classification of the singular points is singularity theory. A singular point is isolated if there is no other singular point in a neighborhood of it. Otherwise, the singular points may form a curve. This is in particular the case for self-crossing surfaces. Algebraic surface Originally, an algebraic surface was a surface which could be defined by an implicit equation where f is a polynomial in three indeterminates, with real coefficients. The concept has been extended in several directions, by defining surfaces over arbitrary fields, and by considering surfaces in spaces of arbitrary dimension or in projective spaces. Abstract algebraic surfaces, which are not explicitly embedded in another space, are also considered. Polynomials with coefficients in any field are accepted for defining an algebraic surface. However, the field of coefficients of a polynomial is not well defined, as, for example, a polynomial with rational coefficients may also be considered as a polynomial with real or complex coefficients. Therefore, the concept of point of the surface has been generalized in the following way.[page needed] Given a polynomial f(x, y, z), let k be the smallest field containing the coefficients, and K be an algebraically closed extension of k, of infinite transcendence degree. Then a point of the surface is an element of K3 which is a solution of the equation If the polynomial has real coefficients, the field K is the complex field, and a point of the surface that belongs to R 3 {\displaystyle \mathbb {R} ^{3}} (a usual point) is called a real point. A point that belongs to k3 is called rational over k, or simply a rational point, if k is the field of rational numbers. A projective surface in a projective space of dimension three is the set of points whose homogeneous coordinates are zeros of a single homogeneous polynomial in four variables. More generally, a projective surface is a subset of a projective space, which is a projective variety of dimension two. Projective surfaces are strongly related to affine surfaces (that is, ordinary algebraic surfaces). One passes from a projective surface to the corresponding affine surface by setting to one some coordinate or indeterminate of the defining polynomials (usually the last one). Conversely, one passes from an affine surface to its associated projective surface (called projective completion) by homogenizing the defining polynomial (in case of surfaces in a space of dimension three), or by homogenizing all polynomials of the defining ideal (for surfaces in a space of higher dimension). One cannot define the concept of an algebraic surface in a space of dimension higher than three without a general definition of an algebraic variety and of the dimension of an algebraic variety. In fact, an algebraic surface is an algebraic variety of dimension two. More precisely, an algebraic surface in a space of dimension n is the set of the common zeros of at least n – 2 polynomials, but these polynomials must satisfy further conditions that may be not immediate to verify. Firstly, the polynomials must not define a variety or an algebraic set of higher dimension, which is typically the case if one of the polynomials is in the ideal generated by the others. Generally, n – 2 polynomials define an algebraic set of dimension two or higher. If the dimension is two, the algebraic set may have several irreducible components. If there is only one component the n – 2 polynomials define a surface, which is a complete intersection. If there are several components, then one needs further polynomials for selecting a specific component. Most authors consider as an algebraic surface only algebraic varieties of dimension two, but some also consider as surfaces all algebraic sets whose irreducible components have the dimension two. In the case of surfaces in a space of dimension three, every surface is a complete intersection, and a surface is defined by a single polynomial, which is irreducible or not, depending on whether non-irreducible algebraic sets of dimension two are considered as surfaces or not. Topological surface In topology, a surface is generally defined as a manifold of dimension two. This means that a topological surface is a topological space such that every point has a neighborhood that is homeomorphic to an open subset of a Euclidean plane. Every topological surface is homeomorphic to a polyhedral surface such that all facets are triangles. The combinatorial study of such arrangements of triangles (or, more generally, of higher-dimensional simplexes) is the starting object of algebraic topology. This allows the characterization of the properties of surfaces in terms of purely algebraic invariants, such as the genus and homology groups. The homeomorphism classes of surfaces have been completely described (see Surface (topology)). Differentiable surface In mathematics, the differential geometry of surfaces deals with the differential geometry of smooth surfaces[a] with various additional structures, most often, a Riemannian metric.[b] Surfaces have been extensively studied from various perspectives: extrinsically, relating to their embedding in Euclidean space and intrinsically, reflecting their properties determined solely by the distance within the surface as measured along curves on the surface. One of the fundamental concepts investigated is the Gaussian curvature, first studied in depth by Carl Friedrich Gauss, who showed that curvature was an intrinsic property of a surface, independent of its isometric embedding in Euclidean space. Surfaces naturally arise as graphs of functions of a pair of variables, and sometimes appear in parametric form or as loci associated to space curves. An important role in their study has been played by Lie groups (in the spirit of the Erlangen program), namely the symmetry groups of the Euclidean plane, the sphere and the hyperbolic plane. These Lie groups can be used to describe surfaces of constant Gaussian curvature; they also provide an essential ingredient in the modern approach to intrinsic differential geometry through connections. On the other hand, extrinsic properties relying on an embedding of a surface in Euclidean space have also been extensively studied. This is well illustrated by the non-linear Euler–Lagrange equations in the calculus of variations: although Euler developed the one variable equations to understand geodesics, defined independently of an embedding, one of Lagrange's main applications of the two variable equations was to minimal surfaces, a concept that can only be defined in terms of an embedding. Fractal surface A fractal landscape or fractal surface is generated using a stochastic algorithm designed to produce fractal behavior that mimics the appearance of natural terrain. In other words, the surface resulting from the procedure is not a deterministic, but rather a random surface that exhibits fractal behavior. Many natural phenomena exhibit some form of statistical self-similarity that can be modeled by fractal surfaces. Moreover, variations in surface texture provide important visual cues to the orientation and slopes of surfaces, and the use of almost self-similar fractal patterns can help create natural looking visual effects. The modeling of the Earth's rough surfaces via fractional Brownian motion was first proposed by Benoit Mandelbrot. Because the intended result of the process is to produce a landscape, rather than a mathematical function, processes are frequently applied to such landscapes that may affect the stationarity and even the overall fractal behavior of such a surface, in the interests of producing a more convincing landscape. According to R. R. Shearer, the generation of natural looking surfaces and landscapes was a major turning point in art history, where the distinction between geometric, computer generated images and natural, man made art became blurred. The first use of a fractal-generated landscape in a film was in 1982 for the movie Star Trek II: The Wrath of Khan. Loren Carpenter refined the techniques of Mandelbrot to create an alien landscape. In computer graphics In technical applications of 3D computer graphics (CAx) such as computer-aided design and computer-aided manufacturing, surfaces are one way of representing objects. The other ways are wireframe (lines and curves) and solids. Point clouds are also sometimes used as temporary ways to represent an object, with the goal of using the points to create one or more of the three permanent representations. See also Footnotes Notes Sources |
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[SOURCE: https://en.wikipedia.org/wiki/3D_modeling] | [TOKENS: 2947] |
Contents 3D modeling In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of a surface of an object (inanimate or living) in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space. Three-dimensional (3D) models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created manually, algorithmically (procedural modeling), or by scanning. Their surfaces may be further defined with texture mapping. Outline The product is called a 3D model, while someone who works with 3D models may be referred to as a 3D artist or a 3D modeler. A 3D model can also be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. 3D models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting. The 3D model can be physically created using 3D printing devices that form 2D layers of the model with three-dimensional material, one layer at a time. Without a 3D model, a 3D print is not possible. 3D modeling software is a class of 3D computer graphics software used to produce 3D models. Individual programs of this class are called modeling applications. History 3D models are now widely used anywhere in 3D graphics and CAD but their history predates the widespread use of 3D graphics on personal computers. In the past, many computer games used pre-rendered images of 3D models as sprites before computers could render them in real-time. The designer can then see the model in various directions and views, this can help the designer see if the object is created as intended to compared to their original vision. Seeing the design this way can help the designer or company figure out changes or improvements needed to the product. Simple wireframes were the first versions of early 3D models, which were mainly used to view construction plans and mechanical parts. Better graphics hardware and software allowed for the creation of solid and surface models in the 1970s and 1980s, giving designers a more realistic and clear representation of physical objects. By the 1990s, parametric modeling became popular, letting designers change a model by changing its basic parameters instead of redrawing it from scratch. Thanks to virtual reality, artificial intelligence and generative design tools, 3D modeling today goes past engineering and is influencing fields like animation, gaming, product design and cinema. Almost all 3D models can be divided into two categories: Solid and shell modeling can create functionally identical objects. Differences between them are mostly variations in the way they are created and edited and conventions of use in various fields and differences in types of approximations between the model and reality. Shell models must be manifold (having no holes or cracks in the shell) to be meaningful as a real object. For example, in a shell model of a cube, all six sides must be connected with no gaps in the edges or the corners. Polygonal meshes (and to a lesser extent, subdivision surfaces) are by far the most common representation. Level sets are a useful representation for deforming surfaces that undergo many topological changes, such as fluids. The process of transforming representations of objects, such as the middle point coordinate of a sphere and a point on its circumference, into a polygon representation of a sphere is called tessellation. This step is used in polygon-based rendering, where objects are broken down from abstract representations ("primitives") such as spheres, cones etc., to so-called meshes, which are nets of interconnected triangles. Meshes of triangles (instead of e.g., squares) are popular as they have proven to be easy to rasterize (the surface described by each triangle is planar, so the projection is always convex). Polygon representations are not used in all rendering techniques, and in these cases the tessellation step is not included in the transition from abstract representation to rendered scene. Process There are four popular ways to represent a model: The modeling stage consists of shaping individual objects that are later used in the scene. There are a number of modeling techniques, including: Modeling can be performed by means of a dedicated program (e.g., 3D modeling software like Adobe Substance, Blender, Cinema 4D, LightWave, Maya, Modo, 3ds Max, SketchUp, Rhinoceros 3D, and others) or an application component (Shaper, Lofter in 3ds Max) or some scene description language (as in POV-Ray). In some cases, there is no strict distinction between these phases; in such cases, modeling is just part of the scene creation process (this is the case, for example, with Caligari trueSpace and Realsoft 3D). 3D models can also be created using the technique of Photogrammetry with dedicated programs such as RealityCapture, Metashape and 3DF Zephyr. Cleanup and further processing can be performed with applications such as MeshLab, the GigaMesh Software Framework, netfabb or MeshMixer. Photogrammetry creates models using algorithms to interpret the shape and texture of real-world objects and environments based on photographs taken from many angles of the subject. Complex materials such as blowing sand, clouds, and liquid sprays are modeled with particle systems, and are a mass of 3D coordinates which have either points, polygons, texture splats or sprites assigned to them. 3D modeling software There are a variety of 3D modeling programs that can be used in the industries of engineering, interior design, film and others. Each 3D modeling software has specific capabilities and can be utilized to fulfill demands for the industry. Many programs include export options to form a g-code, applicable to additive or subtractive manufacturing machinery. G-code (computer numerical control) works with automated technology to form a real-world rendition of 3D models. This code is a specific set of instructions to carry out steps of a product's manufacturing. The first widely available commercial application of human virtual models appeared in 1998 on the Lands' End web site. The human virtual models were created by the company My Virtual Mode Inc. and enabled users to create a model of themselves and try on 3D clothing. There are several modern programs that allow for the creation of virtual human models (Poser being one example). The development of cloth simulation software such as Marvelous Designer, CLO3D and Optitex, has enabled artists and fashion designers to model dynamic 3D clothing on the computer. Dynamic 3D clothing is used for virtual fashion catalogs, as well as for dressing 3D characters for video games, 3D animation movies, for digital doubles in movies, as a creation tool for digital fashion brands, as well as for making clothes for avatars in virtual worlds such as SecondLife. Comparison with 2D methods 3D photorealistic effects are often achieved without wire-frame modeling and are sometimes indistinguishable in the final form. Some graphic art software includes filters that can be applied to 2D vector graphics or 2D raster graphics on transparent layers. Advantages of wireframe 3D modeling over exclusively 2D methods include: Disadvantages compared to 2D photorealistic rendering may include a software learning curve and difficulty achieving certain photorealistic effects. Some photorealistic effects may be achieved with special rendering filters included in the 3D modeling software. For the best of both worlds, some artists use a combination of 3D modeling followed by editing the 2D computer-rendered images from the 3D model. 3D model market A large market for 3D models (as well as 3D-related content, such as textures, scripts, etc.) exists—either for individual models or large collections. Several online marketplaces for 3D content allow individual artists to sell content that they have created, including TurboSquid, MyMiniFactory, Sketchfab, CGTrader, and Cults. Often, the artists' goal is to get additional value out of assets they have previously created for projects. By doing so, artists can earn more money out of their old content, and companies can save money by buying pre-made models instead of paying an employee to create one from scratch. These marketplaces typically split the sale between themselves and the artist that created the asset, artists get 40% to 95% of the sales according to the marketplace. In most cases, the artist retains ownership of the 3d model while the customer only buys the right to use and present the model. Some artists sell their products directly in their own stores, offering their products at a lower price by not using intermediaries. The architecture, engineering and construction (AEC) industry is the biggest market for 3D modeling, with an estimated value of $12.13 billion by 2028. This is due to the increasing adoption of 3D modeling in the AEC industry, which helps to improve design accuracy, reduce errors and omissions and facilitate collaboration among project stakeholders. Over the last several years numerous marketplaces specializing in 3D rendering and printing models have emerged. Some of the 3D printing marketplaces are a combination of models sharing sites, with or without a built in e-com capability. Some of those platforms also offer 3D printing services on demand, software for model rendering and dynamic viewing of items. 3D printing The term 3D printing or three-dimensional printing is a form of additive manufacturing technology where a three-dimensional object is created from successive layers of material. Objects can be created without the need for complex and expensive molds or assembly of multiple parts. 3D printing allows ideas to be prototyped and tested without having to go through a more time-consuming production process. 3D models can be purchased from online markets and printed by individuals or companies using commercially available 3D printers, enabling the home-production of objects such as spare parts and even medical equipment. Uses 3D modeling is used in many industries. Due to the fact that software ecosystems vary across domains, it is common to differentiate between digital content creation (DCC) tools (which consist of polygonal/ subdivision modelling, sculpting and rigging), CAD, CAM ( it is the parametric and solid modeling for mechanical design and manufacturing), BIM (which is building information modelling for AEC), and domain specific platforms (for example medical or geospatial). Open-source tools (for instance Blender, FreeCAD, MeshLab, OpenSCAD) coexist with commercial packages (some examples are: Autodesk Maya/3ds Max/Fusion 360, SolidWorks, CATIA, Cinema 4D, ZBrush, Rhino, Houdini, SketchUp, CLO 3D/Marvelous Designer, Revit, Archicad). The OWL 2 translation of the vocabulary of X3D can be used to provide semantic descriptions for 3D models, which is suitable for indexing and retrieval of 3D models by features such as geometry, dimensions, material, texture, diffuse reflection, transmission spectra, transparency, reflectivity, opalescence, glazes, varnishes and enamels (as opposed to unstructured textual descriptions or 2.5D virtual museums and exhibitions using Google Street View on Google Arts & Culture, for example). The RDF representation of 3D models can be used in reasoning, which enables intelligent 3D applications which, for example, can automatically compare two 3D models by volume. Overall, these examples are an illustration of 3D modelling being a tool of general purpose representational layer that creates a bridge between sensing to analysis, design, communication and fabrication. Challenges and limitations Despite 3D modelling being widely adopted in various domains, several constraints shape how the technology is utilized. Access and cost remain an issue in many regions of the world. Commercial licences, training, and capable hardware can be difficult to find in select regions. It can also be out of reach for students and small studios that can not afford it. Open-source ecosystems and school programs can aid in making this less of an issue, but availability and support are uneven which in turn creates an equity gap in who can learn and apply 3D modelling. Workflow complexity is another limitation. To practice 3D modelling effectively it requires knowledge of many different things. A 3D modelling specialist needs to understand topology, UV mapping, rigging, simulation and rendering for DCC. For CAD/CAM modelling parametric constraints, tolerances and manufacturing constraints must be known by the developer. Information schema and coordination are both required for BIM. Moving assets between tools can introduce incompatibility issues (meshes vs. NURBS/solids/parametric features; unit scaling; normals; material definitions), and format conversions may cause data loss without careful management. At scale, energy consumption can be large (this is due to high resolution simulations and rendering and dense 3D scans), which directs teams to try and optimize design complexity and adopting more efficient pipelines. In research and heritage work, there is another constraint where ethical and policy questions include provenance, licensing and representation (how “authoritative” a reconstruction should be labelled), especially as these reconstruction are utilized for public communication and educational purposes. Finally, classroom and outreach deployments must take into account pedagogical support: learners need step by step guidance and clear examples and models to follow. Without this, the tool’s complexity will be more of a barrier that slows students down instead of enabling them to understand and be creative. Sustainability via 3D modeling Simulations In 3D modeling, simulations are digital processes that copy how things behave in the real world, in a virtual space. Without creating actual prototypes, it lets designers and animators test how objects move, interact, or react to forces. By recreating processes such as collisions, fluid movement, fabric draping, or particle motion, simulations help increase design accuracy, enhance visual effects, and save both time and materials. See also References External links Media related to 3D modeling at Wikimedia Commons |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-23] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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File:Then & Now - Main Hall.jpg Summary Licensing File history Click on a date/time to view the file as it appeared at that time. File usage The following 2 pages use this file: Global file usage The following other wikis use this file: Metadata This file contains additional information, probably added from the digital camera or scanner used to create or digitize it. If the file has been modified from its original state, some details may not fully reflect the modified file. |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Protection_policy#cite_note-5] | [TOKENS: 5211] |
Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. An exception to this rule is when they are protected due to upload vandalism. Pages can be protected by Wikimedia Foundation staff in response to issues such as copyright infringement or libel as outlined in Foundation:Policy:Office actions § Use of advanced rights by Foundation staff. Such actions override community consensus. Administrators should not edit or unprotect such pages without permission from Wikimedia Foundation staff. Cascading protection fully protects a page, and extends that full protection automatically to any page that is transcluded onto the protected page, whether directly or indirectly. This includes templates, images and other media that are hosted on the English Wikipedia. Files stored on Commons are not protected by any other wiki's cascading protection and, if they are to be protected, must be either temporarily uploaded to the English Wikipedia or explicitly protected at Commons (whether manually or through cascading protection there). When operational, KrinkleBot cascade-protects Commons files transcluded at Wikipedia:Main Page/Tomorrow, Wikipedia:Main Page/Commons media protection and Main Page. As the bot's response time varies, media should not be transcluded on the main page (or its constituent templates) until after it has been protected. (This is particularly relevant to Template:In the news, for which upcoming images are not queued at Wikipedia:Main Page/Tomorrow.) Cascading protection: The list of cascading-protected pages can be found at Wikipedia:Cascade-protected items. Requests to add or remove cascading protection on a page should be made at Wikipedia talk:Cascade-protected items as an edit request. Operational pages principally used by software, including bots and user scripts, may be protected based on the type of use, content, and other considerations. This includes configuration pages, data pages, log pages, status pages, and other pages specific to the operation of software. However, personal CSS, personal JavaScript, and personal JSON are automatically protected and should not be protected for this reason. Some pages on Wikipedia are subject to software-enforced protection that administrators cannot change or remove. This is called permanent or indefinite protection, and interface protection in the case of CSS and JavaScript pages. Specifically, this applies to: Protection by namespace Modifications to a protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. Talk pages are not usually protected, and are semi-protected only for a limited duration in the most severe cases of disruption. User talk pages are rarely protected. However, protection can be applied if there is severe vandalism or abuse. Users whose talk pages are protected may wish to have an unprotected user talk subpage linked conspicuously from their main talk page to allow good-faith comments from users that the protection restricts editing from. A user's request to have their own talk page protected is not a sufficient rationale by itself to protect the page, although requests can be considered if a reason is provided. Blocked users' user talk pages should not ordinarily be protected, as this interferes with the user's ability to contest their block through the normal process. It also prevents others from being able to use the talk page to communicate with the blocked editor. In extreme cases of abuse by the blocked user, such as abuse of the {{unblock}} template, re-blocking the user with talk page access removed should be preferred over applying protection to the page. If the user has been blocked and with the ability to edit their user talk page disabled, they should be informed of this in a block notice, subsequent notice, or message, and it should include information and instructions for appealing their block off-wiki, such as through the UTRS tool interface or, as a last recourse, the Arbitration Committee. When required, protection should be implemented for only a brief period, not exceeding the duration of the block. Confirmed socks of registered users should be dealt with in accordance with Wikipedia:Sockpuppetry; their pages are not normally protected. Base user pages (for example, the page User:Example, and not User:Example/Lipsum or User talk:Example) are automatically protected from creation or editing by unconfirmed accounts and anonymous temporary account users. An exception is that unconfirmed registered users are allowed to create or edit their own user page. Temporary account editors and unconfirmed accounts are also unable to create or edit user pages that do not belong to a currently registered account. This protection is enforced by an edit filter. Users may opt-out of this protection by placing {{unlocked userpage}} anywhere on their own user page. User pages and subpages within their own user space can be protected upon a request from the user, as long as a need exists. Pages within the user space should not be automatically or preemptively protected without good reason or cause. Requests for protection specifically at uncommon levels (such as template protection) can be granted if the user has expressed a genuine and realistic need. When a filter is insufficient to stop user page vandalism, a user may choose to create a ".css" subpage (e.g., User:Example/monobook.css), copy all the contents of their user page onto the subpage, transclude the subpage by putting {{User:Example/monobook.css}} on their user page, and then ask an administrator to fully protect their user page. Because user space pages that end in ".css" and ".js" are editable only by the user to which that user space belongs and interface administrators, this will protect one's user page from further vandalism. In the event of the confirmed death of an editor, their user page (but not the user talk page) should be fully protected. Highly visible templates – those used on a large number of pages or frequently substituted – are often protected based on the degree of visibility, type of use, content, and other considerations. Protected templates should normally have the {{documentation}} template. It loads the unprotected /doc page, so that non-admins and IP-users can edit the documentation, categories and interwiki links. It also automatically adds {{pp-template}} to protected templates, which displays a small padlock in the top right corner and categorizes the template as protected. Only manually add {{pp-template}} to protected templates that do not use {{documentation}} (mostly the flag templates). Cascading protection should generally not be applied directly to templates, as it will not protect transclusions inside <includeonly> tags or transclusions that depend on template parameters, but will protect the template's documentation subpage. Instead, consider either of the following: Note: All editnotice templates (except those in userspace) are already protected via MediaWiki:Titleblacklist. They can be edited by admins, template editors and page movers only. Sandboxes should not ordinarily be protected since their purpose is to let new users test and experiment with wiki syntax. Most sandboxes are automatically cleaned every 12 hours, although they are frequently overwritten by other testing users. The Wikipedia:Sandbox is cleaned every hour. Those who use sandboxes for malicious purposes, or to violate policies such as no personal attacks, civility, or copyrights, should instead be warned and/or blocked. Available templates The following templates can be added at the very top of a page to indicate that it is protected: On redirect pages, use the {{Redirect category shell}} template, which automatically categorizes by protection level, below the redirect line. A protection template may also be added below the redirect line, but it will serve only to categorize the page, as it will not be visible on the page, and it will have to be manually removed when protection is removed. Retired protections Superprotect was a level of protection, allowing editing only by Wikimedia Foundation employees who were in the Staff global group. It was implemented on August 10, 2014 and removed on November 5, 2015. It was never used on the English Wikipedia. For several years, the Gadget namespace (which no longer exists) could only be edited by WMF staff, which has sometimes been referred to as superprotection even though it is unrelated to the above use. Cascading semi-protection was formerly possible, but it was disabled in 2007 after users noticed that non-administrators could fully protect any page by transcluding it onto the page to which cascading semi-protection had been applied by an administrator. Originally, two levels of pending changes protection existed, where level 2 required edits by all users who were not pending changes reviewers to be reviewed. Following a community discussion, level 2 was retired from the English Wikipedia in January 2017. Since that change, "pending changes level 1" is generally referred to as just "pending changes". See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:User_access_levels#Extended_confirmed_users] | [TOKENS: 5492] |
Contents Wikipedia:User groups User groups are groups that an editor can apply for in order to receive advanced tools to help them with editing the encyclopedia. There are also some default user groups for logged-out editors and logged-in editors. Additionally, after making some edits, logged-in editors will be automatically assigned to certain user groups. On the technical side, user groups are a collection of user rights which are assigned to various editors. Examples of user groups include extended confirmed, rollbacker, and administrator. User rights are actions an editor can perform, such as block, protect, edit, and rollback. User rights are assigned to user groups, and user groups are assigned to editors. A user group can have multiple user rights, and an editor can be in multiple user groups. A specific editor's user groups can be checked at Special:UserRights. The complete list of English Wikipedia user groups and their user rights is at Special:ListGroupRights and is also summarized on this page. The complete list of global user groups (user groups that assign user rights on all 1,000 Wikimedia wikis) is at meta:Special:GlobalGroupPermissions. Unregistered users Users who are not logged in are identified by a temporary account identifier (or previously by their IP address) rather than a username, whether or not they have already registered an account. They may read all Wikipedia pages (except restricted special pages), and edit pages that are not protected (including pending changes protected/move-protected articles). They may create talk pages in any talk namespace, but need to ask for help to create pages in some parts of the wiki. Furthermore, they cannot upload files or images. They must answer a CAPTCHA if they wish to make an edit which involves the addition of external links, and click a confirmation link to purge pages. All users may also query the site API in 500-record batches. Edit screens of unregistered users are headed by a banner displaying the Autocreate-edit-warning system message. Registered user accounts Each of Wikipedia's account permissions - whether systematically granted (automatically applied), or approved and granted by an administrator or bureaucrat - are listed and described in-depth. This information is at Special:ListGroupRights. You are not logged in or registered. Log in or create an account.You are logged in. All logged-in users may mark edits as minor. They may purge pages without a confirmation step, but are still required to answer a CAPTCHA when adding external links. They may customize their Wikimedia interface and its options as they wish—either via Special:Preferences, or by adding personal CSS or JavaScript rules to their common.css or common.js files. They may create and maintain a watchlist. Registered users may immediately email other users if they activate an email address in their user preferences. You are not logged in, so you are not autoconfirmed.Your account is autoconfirmedis not autoconfirmed. Several actions on the English Wikipedia (such as article creation) are restricted to user accounts that are at least 4 days old and have made at least 10 edits. Users who meet these requirements are automatically considered part of the autoconfirmed user group by the MediaWiki software. The "confirmation" of accounts is typically performed automatically by the MediaWiki software, but an administrator or an event coordinator can manually confirm an account by adding it to the confirmed user group. The required threshold for the autoconfirmed user group are checked every time a user attempts to perform a restricted action; if they are met, permission is granted automatically by the MediaWiki software. Although the precise requirements for being considered autoconfirmed vary according to circumstances, most English Wikipedia user accounts that are at least 4 days old and have made at least 10 edits (including deleted edits) are considered autoconfirmed. Once an account has reached the required autoconfirmed threshold, they will have the exact same user rights as accounts that were manually added to the confirmed user group; it is redundant to grant the confirmed right to an account that has already reached the required autoconfirmed threshold, since it provides the exact same abilities. To request an account to be manually added to the confirmed user group, see Wikipedia:Requests for permissions/Confirmed. See Special:ListUsers/confirmed for a list of the 525 confirmed users. Confirmed and autoconfirmed users can perform the following actions: Other benefits include: As of June 2025[update], there were approximately 2.49 million accounts on the English Wikipedia that met the required autoconfirmed threshold, of which the vast majority were inactive. See Special:ActiveUsers for a list of recently active users. You are not logged in, so you are not extended confirmed. Your account is extended confirmed.is not extended confirmed, but you are an administrator, so your account is extended confirmed by default. A registered editor becomes extendedconfirmed automatically once the account has existed for at least 30 days and has made at least 500 edits. This user access right allows editors to edit and create pages that are under extended confirmed protection. The English Wikipedia also enables editors to use the Content Translation tool to create articles and the INDEX template on user pages. This access is included and bundled in the bot and sysop (administrator) user groups. This group was primarily created to deal with specific arbitration remedies and community issues; the Arbitration Committee has since left community-use decisions up to the community. Membership in the extendedconfirmed group is typically revoked if a user is in another group with which it is redundant (for example, administrators), and in rare cases may be revoked for other reasons, such as if a user games the system by making many trivial edits. If extended confirmed is revoked, it may be re-granted at Wikipedia:Requests for permissions/Extended confirmed. That page may also be used to request early grants of the group, but requests are rarely accepted except for legitimate alternate accounts of users who are extended confirmed on other accounts. See Special:ListUsers/extendedconfirmed for a list of the 78,497 extended confirmed users. For recently active extended confirmed users, see Special:ActiveUsers/extendedconfirmed. Since the 2024 adminship reform, the abilities to vote for admins and stand as administrator candidates have been restricted to extended-confirmed users. Non-extended-confirmed users may still comment on requests for adminship. The administrator and bureaucrat user groups are not requested through Wikipedia:Requests for permissions. They are requested through a different process. See the sections below for more information. You are an administrator. Administrators, often referred to as "admins" or "sysops" (system operators), are editors who have been granted this user group by the community either following a successful request for adminship (RfA) or via the Administrator elections process. The RfA process involves in-depth and considerable discussion and examination of the candidate's activity and contributions as an editor. Candidates are granted the rights by community consensus. Administrator elections use SecurePoll and require 70% support in order to pass; voters are required to be extended-confirmed. Administrators have exclusive access to a number of tools to allow them to carry out certain functions on the wiki. The tools cover processes such as page deletion, page protection, blocking and unblocking users, and the ability to edit fully protected pages. Administrators also have the ability to grant and remove most access rights to and from other users (account creator, autopatrolled, confirmed, file mover, edit filter helper, edit filter manager, event coordinator, extended confirmed, IP block exempt, mass message sender, new page reviewer, page mover, pending changes reviewer, rollbacker, template editor, and AutoWikiBrowser) and to their own alternate accounts. By convention, administrators also normally take responsibility for judging the outcome of certain discussions requiring these technical controls (such as deletions). Administrators are not granted more editorial control over article content than other editors. They are required to follow all policies and guidelines and are held to the same level of accountability as non-administrators. Administrators are not employees of the Wikimedia Foundation and should not be confused with Wikimedia system administrators ("sysadmins"). See Special:ListUsers/sysop for a full list of the 822 English Wikipedia administrators. Bureaucrats are exceptionally trusted editors who have the capability to perform certain actions on other users' accounts. These capabilities are granted by the community following a successful request for bureaucratship (RfB). Bureaucrats have expanded access to Special:UserRights, enabling them to add users to the bureaucrat group (but not remove them), and add users to and remove users from the administrator, bot, and interface administrator user groups. See Special:ListUsers/bureaucrat for a list of the 16 bureaucrats. These user groups are typically requested at Wikipedia:Request for permissions, but can also be granted or removed by an administrator. Some of the user rights in these user groups are part of the administrator user group, and hence are automatically assigned to all administrators. Members of this group can review other users' edits to articles placed under pending changes protection. This right is automatically assigned to administrators. Prior to September 2014, this right was known as reviewer. See Special:ListUsers/reviewer for a list of the 8,201 reviewers. Users who are given the rollback flag (rollbacker user group) may revert consecutive revisions of an editor using the rollback feature. This right is automatically assigned to administrators. See Special:ListUsers/rollbacker for a list of the 7,024 rollbackers. Members of this group have autopatrol, which allows them to have their pages automatically patrolled on the New Pages list. Prior to June 2010, it was known as autoreviewer. Before December 2021, it was automatically assigned to administrators, but following an RFC, it was removed from the default toolkit. The 2021 RFC concluded that administrators are allowed to grant the user right to themselves without approval or a discussion beforehand, similar to the edit filter manager user right. See Special:ListUsers/autoreviewer for a list of the 3,595 autopatrolled users. Members of this group have patrol, which allows them to mark pages created by others as patrolled or reviewed. This right is automatically assigned to administrators. See Special:ListUsers/patroller for a list of the 877 new page reviewers. The file mover right is intended to allow users experienced in working with files to rename them, subject to policy, with the ease that autoconfirmed users already enjoy when renaming Wikipedia articles. This right is automatically assigned to administrators. See Special:ListUsers/filemover for a list of the 388 file movers. The page mover user right (extendedmover user group) is intended to allow users who have demonstrated a good understanding of the Wikipedia page naming system to rename pages and subpages without leaving redirects, subject to policy. They are also able to create and edit editnotices as well as move categories. This right is automatically assigned to administrators. See Special:ListUsers/extendedmover for a list of the 453 page movers. The account creator user right (accountcreator user group) is intended for users involved in the request an account process (ACC), and so have signed the Wikimedia Foundation's confidentiality agreement for nonpublic information. They are not affected by the 6 account creation limit per day per IP, and can create accounts for other users without restriction. Users in this group can also override the anti-spoof checks on account creation. Additionally, account creators are able to create accounts with names that are otherwise blocked by the title blacklist. This right is automatically assigned to administrators and bureaucrats. See Special:ListUsers/accountcreator for a list of the 8 account creators. The event coordinator flag (eventcoordinator user group) is intended for individuals involved with off-wiki outreach events to create accounts for their attendees. Event coordinators are not affected by the 6 account creation limit per day per IP. In addition, they can allow their event attendees to create new articles by temporarily adding newly created accounts to confirmed user group. This right is automatically assigned to administrators. See Special:ListUsers/eventcoordinator for a list of the 149 event coordinators. Users who are given the template editor flag (templateeditor user group) are allowed to edit pages that are template-protected, as well as create and edit editnotices. Template protection is only applied to pages in the template and module namespaces, as well as a few pages in the Wikipedia namespace. This right is intended to allow experienced template and module coders to make changes without having to request that an administrator make the edits for them. This right is automatically assigned to administrators. See Special:ListUsers/templateeditor for a list of the 208 template editors. Members of this group may send messages to multiple users at once. This right is automatically assigned to administrators. See Special:ListUsers/massmessage-sender for a list of the 53 mass message senders. Temporary account IP viewers (temporary-account-viewer) are permitted to view IP addresses used by temporary accounts. This right is automatically assigned to administrators. All users with this right must still accept the Wikimedia Foundation's Access to Temporary Account IP Addresses Policy via Special:Preferences to use the tool. See Special:ListUsers/temporary-account-viewer for a list of the 377 temporary account IP viewers. Users who are given the ipblock-exempt flag (ipblock-exempt user group) are not affected by autoblocks, blocks of IP addresses and ranges that are made with the "Prevent logged-in users from editing" option enabled, and by Tor blocks. The flag is intended for trusted users in good standing who are unfortunately affected by such blocks. Requests for this permission may be included with your unblock request. If you are affected by an IP address range block, you must send your unblock request using the Unblock Ticket Request System. If you are trying to edit through a blocked anonymous proxy or a VPN service, you must instead send your request to checkuser-en-wpwikipedia.org, or contact a CheckUser directly. This right is automatically assigned to administrators and bots. Administrators are also free to grant the right to good-faith editors known to be affected by IP blocks, without waiting for an unblock request. See Special:ListUsers/ipblock-exempt for a list of the 697 affected users. Members of the edit filter manager group can view, create, modify, enable, disable, and delete edit filters, including private edit filters that are hidden from public view. They can also view any associated logs that are generated by any edit filter. This right is not assigned to administrators by default, but they are allowed to grant the user right to themselves without approval or a discussion beforehand. The edit filter manager user right can also be granted to non-administrators following a successful request at the edit filter noticeboard. See Special:ListUsers/abusefilter for a list of the 143 edit filter managers. Members of the edit filter helper group have the ability to view all edit filters (including private edit filters that are hidden from being publicly viewed), as well as view their associated logs. It does not grant them the ability to modify or make any changes to edit filters. The user right is intended for editors who are interested in helping with edit filters or have demonstrated experience with helping with public edit filters on appropriate discussion pages, but do not yet meet the thresholds required to be able to modify them. The user right is also intended for users who are currently active administrators or edit filter managers on other Wikimedia wikis who would like to learn from the English Wikipedia, as well as, at the discretion of any checkuser, sockpuppet investigation (SPI) clerks and trainee clerks. This access is also included in the administrator groups. These capabilities can also be granted to non-administrators following a successful request at the edit filter noticeboard. See Special:ListUsers/abusefilter-helper for a list of the 23 edit filter helpers. Users who are given the interface administrator flag (interface-admin user group) have the ability to edit site-wide CSS, JavaScript, and JSON pages (pages such as MediaWiki:Common.js or MediaWiki:Vector.css, or the gadget pages listed on Special:Gadgets), all CSS, JavaScript, and JSON pages regardless of location, and pages in the MediaWiki namespace. Interface administrator access, along with access to another group that has undelete access, is required to view deleted versions of pages only editable by this group. Because it provides the potential to send malicious CSS, JS, and JSON code to execute in other users' browsers, this right may only be granted to existing administrators with two-factor authentication enabled on their accounts. These capabilities can be granted following a successful request at Wikipedia:Bureaucrats' noticeboard. See Special:ListUsers/interface-admin for a list of the 15 interface administrators. Election clerk is a user group that allows the user to create, edit, and tally polls on the English Wikipedia using SecurePoll. On other Wikimedia Foundation wikis, the role of election clerk is often referred to as "election administrator". Election clerks are responsible for setting up and managing polls used during administrator elections. Functionary user groups are extremely sensitive user groups, because they involve the ability for the user to view highly restricted and private information (such as IP addresses or any material that could be used to identify or dox someone). All functionaries are required to review and sign the Access to nonpublic personal data policy before they are granted with the advanced permissions and given the ability to access this information. See the sections below for details regarding each functionary user group and their roles. Users who are granted and possess the CheckUser flag (checkuser user group) have access to Special:CheckUser, a function page that allows them to view a list of IP addresses that have been used by a user account to edit the English Wikipedia, an extended list of edits made from an IP address or range (which includes edits that were made by any user accounts while using the specific IP or range), or a list of all user accounts that have used a given IP address or range to edit the English Wikipedia. They also have access to the Checkuser log, which logs each time a Checkuser uses their tools to view any of the information listed. This user right is only granted to exceedingly few users and after a high level of scrutiny and input by the community, and after vetting, review and support of the Arbitration Committee. Users must also be at least 18 years old and have signed the Wikimedia Foundation's confidentiality agreement for nonpublic information. As CheckUsers have access to deleted revisions, they are also required to have passed an "RfA or RfA-identical process" first. See Special:ListUsers/checkuser for a list of the 49 CheckUsers. Users who are granted and possess the Oversight flag (suppress user group) have access to additional options on the page deletion, revision deletion, and block function pages through which they can hide logs or revisions of pages (partially or entirely) from any form of usual access by all other users, including administrators. They also have access to the suppression log, where they can view actions made by other oversighters, as well as the content of the hidden revisions and the data within the hidden log entries. This user right is only granted to exceedingly few users and after a high level of scrutiny and input by the community, and after vetting, review and support of the Arbitration Committee. Users must also be at least 18 years old and have signed the Wikimedia Foundation's confidentiality agreement for nonpublic information. Oversighters are also required to have passed a "RfA or RfA-identical process" first. See Special:ListUsers/suppress for a list of the 46 Oversighters. Accounts used by approved bots to make pre-approved edits can be flagged as such. Bot accounts are automated or semi-automated, the nature of their edits is well defined, and they will be quickly blocked if their actions vary from their given tasks, so they require less scrutiny than human edits. For this reason, contributions from accounts with the bot flag (bot user group) are not displayed in recent changes or watchlists to users who have opted to hide bot edits. Minor edits made by bot accounts to user talk pages do not trigger the "you have new messages" banner. Bot accounts can query the API in batches of 5,000 rather than 500. See Special:ListUsers/bot for a list of the 306 bots. A copyviobot is an approved bot that is given the (pagetriage-copyvio) permission, allowing it to use the API to tag pages listed on Special:NewPagesFeed as likely copyright violations. See Special:ListUsers/copyviobot for a list of the 1 copyviobot. The founder group was created on the English Wikipedia by developer Tim Starling, without community input, as a unique group for Jimmy "Jimbo" Wales—see Special:ListUsers/founder. The group formerly gave Wales full access to user rights, but no longer has any function and continues to exist as a courtesy. Wales is also a member of the founder global group, which grants several more rights across the Wikimedia network. The researcher group allows individuals approved by the Wikimedia Foundation to perform a title search for deleted pages, view deleted history entries, and view deleted contents. It was created in 2010 and expanded in 2020. See Special:ListUsers/researcher for a list of the 0 current researchers and meta:Research:Special API permissions/Log for further details. The Transwiki importers group gives editors the import permission for use on Special:Import. This interface allows users to copy pages, and optionally entire page histories, from certain other Wikimedia wikis. The import permission is also included in the administrators and importers user groups. See Special:ListUsers/transwiki for a list of the 1 user in the transwiki importers group. This group is only available for assignment by stewards following a special community approval discussion. Importers is a similar group which gives editors the importupload permission as well as the import permission for use on Special:Import. Importers have the additional ability to import articles directly from XML (which may come from any wiki site), as well as to merge the history of pages together using the mergehistory right (see WP:HM for more information). The importupload permission is also included in the stewards group. See Special:ListUsers/import for a list of the 2 user(s) in the importer group. This access is highly restricted and is only available for assignment to a limited number of very trusted users by stewards following a special community approval discussion. All users can use Special:Export to create an XML export of a page and its history. See also the import log, transwiki log, Help:Import, and Wikipedia:Requests for page importation. Blocked users Any user account can be blocked, regardless of which user group(s) it belongs to. While the account is blocked, the blocking flag disables the user's existing editing privileges depending on which block options are set by the administrator. A partial block still allows some parts of Wikipedia to be edited. Blocked users are listed on Special:BlockList. If an editor is blocked indefinitely but not site-banned, their rights should generally be left as is. Rights specifically related to the reason for blocking may be removed at administrators' discretion; certain rights might also later be removed under applicable inactivity rules. When an editor is indefinitely site-banned by the community, all manually-granted permissions should be removed. If the ban is reversed due to actual error (e.g. votestacking in the ban thread), the rights should be restored, but otherwise a user who successfully appeals their ban is not automatically entitled to regain the rights. Global user groups Global user groups have effects on all public Wikimedia wikis, but their use may be restricted by local policy, see Wikipedia:Global rights policy. For an automatically generated list of global user groups with all their permissions, see meta:Special:GlobalGroupPermissions. For a list of users along with their global groups, see meta:Special:GlobalUsers. Stewardship is an elected role, and stewards are appointed globally across all public Wikimedia wikis. Users who are members of the steward user group may grant and revoke any permission to or from any user on any wiki operated by the Wikimedia Foundation which allows open account creation. This group is set on MetaWiki, and may use meta:Special:Userrights to set permissions on any Wikimedia wiki; they may add or remove any user from any group configured on metawiki. Stewards generally act only when there is no user on a particular wiki that can make the necessary change. This includes granting of the administrator or bureaucrat access levels on wikis which do not have any local bureaucrats, and removing such flags if the user resigns or the account is acting maliciously. Stewards are also responsible for granting and revoking access levels such as oversight and checkuser, as no other group is capable of making such changes except Foundation sysadmins and Trust and Safety staff. Stewards can also act as checkusers, oversighters, bureaucrats or administrators on wikis which do not have active local members of those groups. For example, if a wiki has a passing need for an edit to be oversighted, a steward can add themselves to the oversight user group on that wiki, perform the necessary function, and then remove themselves from the oversight group using their steward rights. Most steward actions are logged at meta:Special:Log/rights or meta:Special:Log/gblrights (some go to meta:Stewards/Additional log for global changes). See Special:GlobalUsers/steward or meta:Special:ListUsers/steward for a list of users in this group. Other global groups include WMF staff, sysadmins (system administrators), ombuds, Volunteer Response Team (VRT) members, global bots, global rollbackers, global sysops (not enabled on English Wikipedia), and interface editors. See Global rights policy and meta:User groups for information on these, as well as a full list. Table (abusefilter) (accountcreator) (autoreviewer) (bot) (bureaucrat) (checkuser) (eventcoordinator) (extendedconfirmed) (filemover) (founder) (import) (interface-admin) (ipblock-exempt) (massmessage-sender) (extendedmover) (patroller) (researcher) (reviewer) (rollbacker) (suppress) (sysop) (templateeditor) User access level changes ^1 Because bureaucrats were granted the ability to do this, stewards would refer most ordinary requests for removal of the sysop permission to them, but retain the right to remove the sysop permission when appropriate (such as emergencies or requests from the Arbitration Committee). Former groups See also Notes |
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